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(3
HARVARD COLLEGE
LIBRARY
I
I
FROM THE LIBRARY OF
George Lyman Kittredge
GURNEY PROFESSOR
OF ENGLISH LITERATURE
I917-I94I
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SECTION III
THE ENGLISH DRAMA
FROM ITS BEGINNING TO THE PRESENT DAY
GENERAL EDITOR
GEORGE PIERCE BAKER, A. B.
ASSISTANT PROFESSOR OF ENGLISH
IN HARVARD UNIVERSITY
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BROWNING IN 1835
Engraved by J. G. Armytage
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A BLOT IN THE
SCUTCHEON
COLOMBE'S BIRTHDAY
A SOUL'S TRAGEDY
AND
IN A BALCONY
By ROBERT BROWNING
EDITED BY
ARLO BATES
PBOrXSSOR OP ENGLISH LITEKATUBB IN THE
MASSACHUSETTS INSTITUTE OP TECHNOLOGY
BOSTON, U.S.A., AND LONDON
D. C. HEATH & CO., PUBLISHERS
1904
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HARVA-'., -^
lUNIVERSiTY
LIBRARY
MAK UlbM
COPYRIGHT, 1904, BY
D. C. HEATH ft CO.
Printed in United States of America
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rBiosmt^r
Robert Browning was bom May 7, 1812, in the
Parish of St. Gilesy Camberwell, London. His father
was a bank clerk, but a man of cultivation and refined
tastes. The boy was educated at a private school and by
a tutor, and perhaps more by the intellectual and ar-
tistic atmosphere of his home than by either. He read
largely, and tells how greatly he was delighted and im-
pressed by the poems of Shelley, which came into his hands
when he was a dozen years old. He attended lectxires at
University College, London, for a short time, but did not
go either to Cambridge or Oxford. His first published
poem, Pauline f appeared in January, 1833. In that year
and the next he traveled in Russia and Italy, and in 1835
brought out Paracelsus. He made the acquaintance of
Macready, the tragedian, who suggested the writing of a
play, and the result was Strafford, acted and published in
1837. Sordello came next, 1840, and in 1 841. Browning
began the publication of Bells and Pomegranates. These
poems appeared at irregular intervals in shilling numbers
badly printed and bound in yellow paper covers. They
included Dramatic Lyrics, 1842, Dramatic Romances and
Lyrics, 1845, ^^ dramas: Pippa Passes, 1841; King
Victor and King Charles, 1842; The Return of the Druses
and A Blot in the ^Scutcheon, 1843; Colombe*s Birthday,
18445 Luria and A SouPs Tragedy, 1846} In a Balcony,
1853. In 1 846 he married the poetess, Elizabeth Barrett,
and went to Italy. His only child, Robert Barrett Brown-
ing, was bom in 1849. ^^' Browning died in 1861.
After the death of his wife. Browning divided his time
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between England and the Continent, although Italy is per-
haps to be reg^ded as having been his home. His repu-
tation as a poet, though of slow growth, was well estab-
lished during his lifetime, and his output was almost un-
interrupted. The bulk of his work is large, and when the
quality is considered is amazing. In 1850 he published
Christmas E<ve and Easter Day. Men and Women ap-
peared in 1855, and Dramatis Persons in 1864. In
these two collections of lyrics are some of those which
most strikingly combine Browning* s deep insight into
life with his command of melody, although it must be
conceded that as time went on the lyric form became less
satisfactory. In 1 868-9 ^^ P^^^ published The Ring and
the Bookf the most wonderful poem of the latter half of
the century and perhaps the most amazing tour deforce
in all literature. In the two books entitled Pompilia and
The Pope^ Browning is at the height of his superb power,
both for matter and for form, .^er this came the beau-
tiful paraphrases from the Greek tragedians, Balaustion^s
Ad<venture (1871) and Aristophanes^ Apology (1875)5
several volumes, — Jocoseria^ 1883, Ferishtah^s Fancies^
1884, and ParUyings ivith Certain People of Importance
in their Day, 1887, especially, — in wluch philosophical
analysis was more notable thii poetic beauty; Prince Ho^
benstiel'SchivangaUy Sa<viour of Society, 1871, a study of
the moral unsoimdness of Napoleon III, biting and subtle
but unpoetic, hard, and at times bewildering,* Fifine at
the Fair, 1872, a discussion of the relations of man and
woman in which are strangely and often confusingly
mingled truth and sophistry, ob^scxirity and poetic beauty;
Red Cotton Night-Cap Country, 1873, a melodramatic
story told with some heaviness of style but with great in-
tensity; Dramatic Idyls, First Series, 1 879, Second Series,
1880, of which the most striking are Cli've and Ivan
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HBIosnqpl^ vii
hvanovitck ; with a body of miscellaneous lyrics large
enough and striking enough to have established the repu-
tation of the poet. The amount and variety of this work
is in itself astonishing, and yet more so is its quality.
Robert Browning died at the Palazzo Rezzonico, on the
Grand Canal in Venice, on December 12, 1889. His last
book of poems, Asolando^ was published in London the
same month. His burial took place on December 31, in
Westminster Abbey.
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introDuctton
Although it is with Browning the dramatist that
this book has to do« it must be remembered that the
greater bulk of his poetry was not written for the stage.
His artistic characteristics and rank as a playwright can
be intelligently considered only when his work, with
its wonderfiil variety of form, its amazing breadth, its
great virility, its keen subtilty, and its almost unique
originality, is studied as a whole. To understand
Browning the dramatist, however, it is necessary to
study at least the more strongly marked traits of Brown-
ing the poet.
A poet is to be estimated according to his manner
and to his matter. His workmanship and his message
have equal claims for consideration. Both what he says
and the way in which he says it are to be judged by
their imagmative beauty and imaginative truth. Mere
mastery of music does not make the highest poetry, as
is too often proved by the exquisitely melodious verse
of Swinburne; and equally is it true, as might be illus-
trated by such a poem as Browning's own Reverie,
that the highest is not attained when beauty of form is
absent however rich and deep may be the thought.
Poetry exists to express what cannot be said in prose,
and this expression is possible because form is itself a
language, an essential part of the message imperfection
in which impairs the completeness of the whole. In
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X JIntroOuction
even the most superficial examinatioii of a poet's work,
therefore, it is necessary to consider bodi his artistic
technique and his message.
The limitations of Browning as a master of poetic
form have been often dwelt upon. The common talk
about his obscurity and roughness has so commonly
been repeated that it comes at once to mind; nor is it
difficult to find passages, especially in Sordello on the
(me hand or on the other in his latest work, which may
seem to justify this. In the matter of melody and mas-
tery of poetic form, however, not Tennyson and hardly
Swinburne exceeded Browning at his best. The songs
in Pippa Passes : " A King lived long ago," " You 'U
love me yet"; those in Paracelsus: ''Heap cassia,
sandal-buds, and stripes," **Over the sea our galleys
went," or the exquisite *' Where the Main glideth"
may serve as examples; or the wonderful silver-trumpet
exultation of parts of Saul:
** Oh, the wild joys of liying ! the leapmg from rock up to rock.
The strong rending of boughs from the fir-tree, the cool sHver
shock
Of the plunge m a pooPs living water, the hunt of the bear,
And the sultriness showing the lion is couched m his lair.
The meal, the rich dates yellowed over with gold dust divine.
And the locust-fiesh steeped m the pitcher, the full draught of
wine.
And the sleep in the dried river-channd where bulrushes tell
That the water was wont to go vrarbling so softly and well.
How good is man*8 lif;, the mere living! how fit to employ
All the heart and the soul and the senses forever in joy ! **
In the blank verse of Browning at its best the music is
no less masterly and enticing. Take this fi-om The
Ring and the Book :
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3|ntroimction xi
" I stood at Naples once, a night so dark
I could have scarce conjectured there was earth
Anywhere, sky or sea or world at all :
But the night*s black vras burst through by a blase —
Thunder struck blow on blow, earth groaned and bore,
Through her whole length of mountain visible :
There lay the city thick and plain with spires.
And like a ghost disshrouded, white the sea.**
Or passages like these in Pippa Passes :
<< The garden's silence ! even the nngle bee
Persistmg in hb toil, suddenly stopped :
And where he hid you only could surmise
By some campanula chalice set a-twing.**
** Sings, minding not that palpitating arch
Of hands and arms, nor the quick drip of wine
From the drenched leaves o*erhead, nor crowns cast off,
Violet and parsley crowns to trample on.**
Certain it is that no one with a quick ear can fail to
recognize how fiilly Robert Browning had that power
of evokmg from words a music and an enchantment
which belongs only to the true poet.
Imaginative beauty of phrase is perhaps even more
common in the poetry of Browning than melody. As
years went on he came more and more to sacrifice form
to content, but he never lost wholly the magic quality
of flashing a thought into beauty. Often the image used
is suggested by some loveliness of nature, but whatever
the phrase be, it is made alive by that identification of
the mind of the poet vdth the i4ca which is the hall-
mark of gei^uine imagination.
<* The runnel slipp^
Elate with tarn.* *-^5er<4//9.
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xii JlntroOoction
" Great stars
That had a right to come first and see ebb
The crimson wave that drifts the sun away.**
— P^PP^ Panes,
« For the au- u sdll, and the water soil,
When the blue breast of the dipping coot
Dives under and all u mute.**
— The Flight of the Duchess.
** The Duke rode past in his idle way,
Empty and fine like a swordless sheath.**
— The Statue and the Bust,
** When u man strong until he feels alone ? **
— Coiomhe*s Birthday.
** Infinite passion, and the pain
Of finite hearts that yearn.** — Two in the Campagna.
'* A scanty patch
Of primroses too faint to catch
A weary bee.** — Paracelsus.
*< But spring-wind, like a dancing psaltress, passes . . .
and God renews
Hb ancient rapture.** — lb.
Examples might be endlessly multiplied, but they are
most surely convincing when the reader discovers them
for himself, coming upon them as he reads and taking
them in their proper settings.
Unfortunately for his art. Browning not infrequently,
and as he grew older more and more often, allowed the
pleasure of intellectual dexterity to override in his work
the imaginative and poetic mood. That he recognized
his own danger is sufficiendy evident from the poem
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Jlntroimction xiii
called Transcendentalism, in which he warns a young
poet against this very fault, and tells him instead of
giving ''naked thoughts" to take ** the harp back to
your heart again." It is also true that he is apt to as-
sume in his readers special knowledge which they are
not likely to possess. He is fiill of curious bformadon^
and his allusions to it are continually a stumbling-block
to those not so well read. Both these causes have
helped to make his work difficult to the average reader.
The matter was discussed between him and Miss Bar-
rett, and on April 22, 1846, she writes: *' Your ob-
scurides, . . . so far as they concern the medium, . . .
you have been throwing off* gradually and surely this
long time."
More than all has Browning perplexed the Philistine
by the subtilty of his thought. He deals with shades
of character so delicate, \yith distinctions so complex
that the intellect must be alert and keenly discerning
which would always and easily follow him. It has
been jusdy said of him : '' Browning treats obscure
subjects deeply, not deep subjects obscurely."
The subjects with which Browning most gladly dealt
are characterized by the phrase just quoted. How wide
is his range of thought and how varied can be appreci-
ated only by the reader who knows the poet thoroughly.
Great as is the variety of theme in Tennyson, Brown-
ing has surpassed it; and Browning has gone (ax deeper
into the mysteries of human nature and life than any
other poet of his century. Dr. Fumivall has called him
** the manliest, the strongest, the life-fidlest, the deep-
est, and the fiiUest poet of his time." It is hardly pos-
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xiv 3|ntroimttton
sible to make a fair estimate of a contemporary or to
arrive at any conclusion which may not be discarded by
posterity; but it seems sure that in the ultimate ranking
of the poets who have thus far enriched English litera-
ture only three — Shakespeare, Chaucer, and Milton
— can possibly be set higher in the list than Robert
Browning, — and possibly not all of these.
The dramatic work of Browning is not in bulk a
large part of his poetry, and it is not the best he has
achieved. If his rank depended only on what he wrote
for the stage a number of the Elizabethans would eclipse
him. Yet taken for what they are, the plays of Brown-
ing stand higher as literature than those of any of his
contemporaries, and with the exception of Shelley's
Cenci higher than any poetry written for the English
stage since the close of the Elizabethan period. Com-
parison with the dramas of Tennyson shows Luria,
A Blot in the ^ Scutcheon ^ and Cokmbe^s Birthday, if
less effective on the stage, to be superior in virility, in
conviction, and in beauty ; while in the century has
appeared no other rival worthy of consideration.
In his plots, which* for the most part he invented.
Browning is not happy. He is seldom able to give to
a play that unity of movement, uniform progression,
and significance of action which are the essentials of
successfid dramatic effect. He is interested in the char-
acter, the temperament, the motives of his personages,
and shows little of that love for action itself which is
the mark of a genuine dramatist. In Strafford, his first
immature attempt at dramadc work, he labored pain-
fidly to produce acdon, and the result was that he in-
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3|ntrointction xv
volved his characters in a complication of intrigues which
no audience could follow and which no reader can un-
derstand without more effort than is compatible with
dramatic enjoyment. In King Victor and King Charles
he deals again with court intrigue, and does indeed
make it simpler; but he depends upon word rather
than deed for the enlightenment of the audience. He
shows in The Return of the Druses that he has learned
by previous Sulures, and makes the story both more
dramatic and more interesting ; yet the action is still
so largely intellectual and mental as to leave the play
unfit for the stage. He brings to the making of ^ Bkt
in the ^Scutcheon still greater knowledge of stage-craft ;
the story, however, is not only painfiil but unconvinc-
ing, and to a considerable extent is told rather than
acted. He most nearly approaches the art of the skilled
playwright in Colombe^s Birthday. In every play
which he wrote actually for the stage Browning gained
something ; and had tiie age demanded and circum-
stances &vored, he might have followed in the steps of
Dryden, who was by nature as littie dramatic as he,
yet who gave so much of the best of his productive life
to the stage. By the time Luria was written Browning
had come to be so fully under the dominion of his nat-
ural tendencies that the whole play may almost be said
to take place in the minds of the characters. After that
he can hardly be held to have written for representa-
tion, since In a Balcony and A SouPs Tragedy are
scarcely more actable than Pippa Passes, In no one
of all these has Browning been able to conceive and
present an effective dramatic story, wrought out by
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xvi 3|ntroim(don
action rather than by speech and exhibiting by outward
events what changes of character go on beneath the
surface.
It is equally true that he is seldom able to place be-
fore the audience what in theatrical language is known
as a good situation. In A Blot in the ^Scutcheon the
one strong situation is where Tresham believes his sis-
ter willing to marry one man while being the mistress
of another ; the reappearance of Luitolfb in A SouPs
Tragedy and the discovery of Norbert and Constance
by the Queen are practically the only other good situa-
tions in the four plays given in the present volume. In
these the audience is able to see and to feel the sharp
contention of interests and emotions ; and the bringing
of conflicting passions visibly to bay is one of the es-
sentials of successful stage-craft.
All this is perhaps only resaying once more what has
often been noted, that the dramas of Browning are in-
ward. His temperament led him to select as the motiv
of a play a theme so spiritual that its completeness could
not be made visible even to those of fairly acute percep-
tion in that swift first view which is all that the stage
allows. When he had worked out this theme, more-
over, he took no trouble to complete the outward story.
The result in representation was sure to be disconcert-
ing and episodical. Striking examples of this are Pippa
Passes and In a Balcony, where as fer as outward events
are concerned nothing is finished and an audience must
inevitably feel that it had seen only part of the play.
Yet each is complete in [the spiritually dramatic sense.
The theme of the first, for instance, is the influence 'of
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3|ittiMttction xvii
Hppa upon other lives, unseen and unseeing ; and this
is fully shown. What happens as a consequence of the
influence is not part of the spiritual theme. The drama^
however, demands the completeness of the visible,
whereas Browning was content with the working out
of the spiritual.
In all his work Browning exhibits a curious lack of
realization of his audience. This he shows often in the
obscurity of his literary language : in the allusions to
books few readers can have read, or to £icts few are
likely to know; in the turns of thought which are
almost arbitrarily personal ; in the lack of continuity
which sometimes leaves gaps to be filled by the ordi-
nary reader only with considerable difficulty. He shows
it, too, in the choice of subject and in the subtilty of
psychical distinctions and analysis. Especially in the
dramas does he betray this lack of power to realize the
audience to which a play must be addressed. The dif-
ficulties of language and the over-delicacies of thought
— fi-om a stage point of view — are everywhere pre-
sent; and what is of perhaps greater importance, the
progress of the play is almost always dependent upon
inner experiences neither visible to the audience nor
coming within the probable range of their comprehen-
sion.
Next to plot and situation in the drama come the
drawing of character and the exhibition of the action
of (me personality upon another. Browning possessed
rather the art of analyzing than of developing character.
The personages in his plays are apt to be much the
same at the end as at the beginning. Perhaps the very
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xviii 3|iitro0ttction
keenness of vision which enabled him to see into the
secret recesses of the souls of the men and women of
whom he wrote was a hindrance when he came to the
attempt to show how those souls might be altered by
circumstance and opportunity. He perceived what they
were so clearly that it must have been difficult not to be
blinded to the alteradons which circumstance and hu-
man relations may bring. This is shown more strongly^
if more subdy, in the &ct that the plays are compara-
dvely deficient in the interaction of personalides. Each
character pursues his individual way, affected of course
by the acts of others, but seldom much changed men-
tally. As Browning seems to care for his plot only in
80 far as it exhibits what his actors are rather than to
be interested in what events may make of them, so he
uses the relations of his personages as means to bring
out the mental traits of each rather than as forces which
must interact. Each temperament in his treatment re-
mains almost agate-hard and intractable to the influence
of others ; and while this makes greatiy for vigor in the
presentation of spiritual portraits, it tells almost equally
against dramatic effe.ctivenes8.
It follows from this method ^t the characters in
Browning's plays, if the seeming paradox may be per-
mitted, have more personality than individuality.
They are personal in the sense that they are well dif-
ferentiated; but they lack the flavor of particular life
which marks the human being as individual, forever
unique among his fellows. Tresham, Mildred, Luria,
Chiappino, and the rest are particularized so that we
have no difficulty in regardii^ each as a person, yet
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3|nttomietton xix
each somehow lacb individuality. No one of them
lives and moves and has his bcdng in an unviolated
sphere of consciousness such as surrounds the soul of
Othello, of Imogen, of Falstaff. To make comparison
with the highest may seem unfair; but this best brings
out the idea and Browning is worthy of being tried by
lofty standards. Pompilia or the Pope in The Ring
and the Book is no less true than Juliet or Coriolanus;
but the same cannot be said of any one of the char-
acters in Browning's plays. Some of the minor fig-
ures have a good deal of vitality. Guendolen, slight as
is her part, is truly alive, perhaps because the poet
was not hampered by the necessity of making her
work out his plot, and so could write of her with
freedom. On the whole, however, the personages in
the dramas have something of the efiect of figures in
a camera obscura, startlingly real yet not wholly
human.
Of the women in Browning's dramas Constance,
Mildred, and Anael are the most carefully studied.
Constance is easily the most subtle, although Anael is
perhaps more difficult to understand. Ottima, in the one
tremendous scene in the shrub-house, is more convinc-
ingly and passionately real than all the rest, and bums
with a vitality at once splendid and terrible. Most
attractive of his heroines — for it is hardly possible to
call sweet and dear Pippa by so dignified a name — is
Colombe, with her straightforwardness, her freshness,
her delicious childliness. She is of character suffi-
ciently complex to be interesting, yet she is always so
readily understood as not to lose her hold on the sym-
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XX 3|ntroimttion
pathy. She is warmly human, intellectual, — as every
character must be in the hands of Browning, from Cali-
ban up, — yet feminine, and admirably womanly in
her faithfiilness to love when against it is set the temp-
tation of ambition.
Of his heroes. Browning has perhaps succeeded best
with Luria. Norbert is, however, consistent, manly,
and so attractive throughout that while Constance pro-
vokes speculation and the Queen arouses pity, Norbert
takes the strongest hold upon the sympathy. Tresham
dominates A Blot in the ^ Scutcheon y even in spite
of the possible intention of the author that Mildred
should most command interest ; Chiappino and Ogni-
ben divide the honors in A SouPs Tragedy. Whether
Colombe or Valence seem the more attractive must re-
main largely a question of personal taste; Colombe is
impulsive and winning while it is not impossible to find
Valence somewhat too unreasonably and all but ex-
asperatingly perfect. The plays as a whole, like the
dramatic lyrics and The Ring and the Book, show how
naturally the genius of Browning turned for expression
to the embodiment of masculine types.
The plays seem, moreover, to carry throughout the
strongest marks of the characteristics which have been
noted in considering the lyrics. The quality of por-
traying masculine types connects itself with the subtilty
with which Browning followed the working of both
temperament and intellect through their most intricate
windings. He deals constantly with emotion, and he
is in reality the most passionate poet of his time, Swin-
burne and Rossetti notwithstanding; but he is still a
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^ 3ltiti^<Amction xxi
poet of intellectual subtilties of character rather than of
emotions. From this it follows logically that he is at
his best rather with men than with women; with the
sex which may feel no less strongly than the other, but
which after all is less likely to be dominated and di-
rected by emotion pure and simple. Browning suc-
ceeds best in portraying men because, to speak some-
what paradoxically, he is too keenly alive to the play
of the intellect to be able to find the satisfactory ex-
pression of his genius in dealing with women.
If this claim be true, it necessarily follows that as a
dramatist he must always be somewhat unequal in his
treatment of men and of women. Such certainly seems
to be the fact. This intellectual subtilty, moreover,
leads him constantly toward regions of consciousness
which cannot be sucessfiilly presented from the stage,
or which at least can be effectively embodied in a play
only by a poet who is bom with supreme dramatic
genius. The struggle to keep within bounds, so as not
to confiise his audience, must in itself have been
enough to prevent the free play of Browning's imagi-
nation. Constantly his imaginative perception saw far-
ther than he dared say, and constantly in the plays he
is apparently holding himself in hand, and resisting
the impulse to utter what he feels could not be compre-
hended across the footlights.
Nothing more strikingly marks the fact that Brown-
ing was not at his ease in dramatic work than the
inferiority of the quality of his verse in the plays. In
Strafford^ King Victor and King Charles^ and A
SouPs Tragedy is very little which is up to the aver-
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xxii 3|ntro0action
age of his best work and hardly a line which approaches
his highest. In the other dramas this is less markedly
true, but he is evidently always at a disadvantage, al-
ways constrained by the conditions under which one
writes for the stage. It is in Pippa Passes, which can
never have been intended for actual representation, that
he is poetically most successful; and it is in the scene
in the shrub-house only that he shows an intensity and
fire which suggest possibilities of dramatic greatness.
Taken as a whole, the plays certainly do not represent
Browning as a poet at the height of his power.
The plays included in this volume fairly present the
most strongly marked characteristics of Browning as a
dramatist. A Blot in the * Scutcheon is — except pos-
sibly Co lorn be* s Birthday — the most obviously act-
able of Browning's plays. The story is simple, its
presentation is direct, and it contains one really great
dramatic situation.' As in all the plays, the dialogue
lacks crispness and the speeches are too long; but on
the whole the play is unusually fi-ee fi-om those passages
in which the intellect of the poet moves too rapidly to
be followed by an ordinary audience at the theatre.
The artificiality of the scheme has been censured, and
not without justice. The plot is melodramatic in the
sense that it rests upon manifest improbability. Melo-
drama is essentially sensational rather than inevitable,
and in so far necessarily falls below the highest levels
of art. The absence of acquaintance between the
neighboring families is incredible. The relation be-
tween Mildred and her lover is not impossible, but it i&
' See note on Act ii, 11. 250-360.
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3|ittroimctlon xxUi
no less unlikely than unpleasant. The youthfiilness
which is insisted upon to make it less unreal produces
rather the result of rendering the whole situation re-
volting. Mr. W. L. Courtney rather too sharply
comments:
*' The situation is not dramatically legitimate; but
when we find that these two characters began their
clandestine meetings when they were almost children^
that they are not the characters of mingled goodness
and badiness which experience in such matters might
create, but represented as living models of purity ('a
depth of purity immovable,' is the expression of
Tresham . . .), it is impossible to avoid the criticism
that such a situation ... is grotesquely abnormal."
— Studies New and Old.
The &ct that not incident but emotion is the real
subject — a feet which makes for the poetic while it
lessens the dramatic value of the work, — preserves the
play from sinking to low melodramatic levels. In any
case, as was remarked by the Literary Gazette in its
critidsm of the first performance, ** diere b sufficient
variety and constant moving in the action, which keeps
the mind engaged, and prevents it from detecting and
dwelling on the faultiness of the plot."
While Colombe^s Birthday stands next to A Blot in
the ^Scutcheon as an acting play, it has hardly anything
which can in the true dramatic sense be called action.
It is an exquisite dialogue, relieved by some movement
and by one or two fairly good situations. Its effective-
ness depends chiefly upon the fact that its central
motive — the triumph of love over ambition — is one
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xxiv 3|ntroimttion
of which the attraction is perennial. All the characters
move on somewhat conventional lines, but the genius
of Browning imparts to them a good deal of reality.
The story is too slight for the length at which it is
treated, and for acting purposes would probably be
more effective in three acts than in five, — perhaps
even in one than in three; but as a closet drama we
would not willingly have it shorter.
Of In a Balcony whatever is said is sure to be dis-
agreed with by somebody. Diversity of interpretation
is perhaps the best proof of the vitality and truth to
human nature which a drama can have. The artificial
and the false do not leave the reader or the spectator
in doubt what is intended, but that which is fiill of
the complexity and the mystery of life inevitably affects
different natures in divers ways, and leads them to
varied conclusions. In a Balcony has perhaps had this
form of indorsement in a manner more marked than
that accorded to any other of Browning's plays; and
in a sense the highest praise one can bestow upon it
is to say: ** Others have interpreted it thus and so;
but to me the conclusion that its meaning is different is
no less than inevitable."
So clever a critic as the Rev. Stopfbrd A. Brooke
has written of the play thus: —
** I do not believe that Browning meant to make
self-sacrifice the root of Constance's doings. If he did
he has made a terrible mess of the whole thing. He
was much too clear-headed a moralist to link self-sacri-
fice to systematic lying. Self-sacrifice is not self-sacri-
fice at all when it sacrifices truth. It may wear the
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3|ntroimctlan xxv
clothes of Love, but, in injuring righteousness, it injures
the essence of love. It has a surfiice beauty, for it imi-
tates love, but if mankind is allured by this beauty,
mankind is injured. It is the false Florimel of self-
sacrifice. Browning, who had studied self-sacrifice, did
not exhibit it in Constance. The very first lie she
urges her lover to tell (that is, to let the Queen im-
agine he loves her) is just the thing a jealous woman
would invent to try her lover and the Queen, if she
suspected the Queen of loving him, and him of being
seduced fi-om her by the worldly advantage of marrying
the Queen." — Th Poetry of Robert Browning,
Mr. Brooke has much more in this strain, and
others have found it possible to take a view not dis-
similar. Is it not likely that the "terrible mess" is
made by the critic rather than by the poet ? Anything
more violently impossible — or so it seems — than that
Constance is in the first instance urged by jealousy it is
hardly possible to conceive; and one is unable to resist
the feeling that a certain perhaps clerical narrowness is
behind Mr. Brooke's remarks about lying. It is not, of
course, necessary to defend the falsehoods of Con-
stance, — indeed, to be fi-ank, it is difficult to feel
that they need defense, — but it seems fair to remark
how litde it is possible to conceive that to a court lady
of the time and position of Constance her diplomacy
would present itself as falsehood at all.
Mrs. Sutherland Orr, whose Handbook claims to be
quasi-ofiicial in character, says of Constance that the
poet " has given her, not the courage of an exclusively
moral nature, but all the self-denial pf a devoted one.
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xxvi Jltttroimction
growing with the demands which are made upon
it."
The characters of Norbert and the Queen are suffi-
ciently simple and plain, and it is Constance who has
made readers to differ. It appears not so difficult to
read her nature also, as it seems impossible not to accept
the view that the central thought of the poem is the
self-sacrifice of Constance and her regeneration through
this.
In the light of what comes later it is plain that from
the very first Constance is moved by a desire to protect
and save Norbert from possibility of harm. How great
to her mind are those possibilities is evident from her
words :
" We two, embracing under death*8 spread hand.**
Throughout she shows the subtilty of her perception of
character, and although she fails to plumb the depth
of the nature of the Queen, yet in essentials she is right.
She recognizes at the outset that her lover is frill to the
eyes of schemes for ftiture shaping of the state. She
tells him that he loves the world, and how completely
right she is is shown in the brief scene when he comes
to her from having spoken to his imperial mistress, igno-
rant of the real meaning of what has occurred, and
feeling himself sure of carrying out the plans which
have been maturing in his head through the year during
which he has been shaping the destiny of the kingdom.
He cries out in exultation :
" See this Queen,
This people — in our phrase, this mass of men —
See how this mass lies passive in my hand
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3lntramtction xxvii
And ^ow my hand is plastic, and you by
To make the muscles iron ! then, the strain,*
The grappling of the potter with his clay,
The long uncertain struggle, — the success
And consummation of the spirit-work.** . . .
He is alive with eagerness to go on in his task, and
Constance is too thoroughly feminine not to recognize
that she has a rival in his ambition. Her breadth is
shown in her acceptance of the fiict. Indeed, the thing
which endangers the hold of Constance upon the audi-
ence is a too logical and dispassionate appreciation of
the situation, a too masculine analysis of her lover's
character and motives. The key to the situation, how-
ever, is precisely her perfect perception of how truly
his spirit is set on this grand project of working out the
elevation of the people over whom in virtue of his place
as the Queen's minister he has power.
No less evident is the limitation of Constance's power
of insight. She fails to appreciate that with Norbert
love is the dominant passion of his whole being. She
is essentially intellectual, though a woman and so com-
pletely feminine, as he is essentially emotional though so
masculine. The very clearness of her analysis blinds her
to the possibilities of passion in the Queen, and no less
has it prevented her from realizing the completeness of
the devotion of Norbert to herself. When these forces
which she has not appreciated spring into light she ac-
cepts them with an acute quickness of comprehension
which would make her seem hard in her brilliant intel-
lectuality were it not that in each case her magnificently
disinterested self-sacrifice shows itself no less quickly.
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xxviii 3lntroimction
** ^een. Remember, I (and what am I to you ?)
Would give up all for one, leave throne, lose life.
Do all but just unlove him ! He loves me.
Con. He shall.**
This renunciation of Norbert rather than that the heart
of the Queen shall be broken comes instantly. Here
again a dramatic difficulty arises from the fiict that the
audience would more easily forgive ingratitude to the
Queen than treason to the lover; the fact that Constance
believes that Norbert, with his great schemes, could not
be happy if deprived through loss of royal fiivor of the
chance to carry them out makes it hard for her wholly
to hold the sympathy of the reader.
One is always conscious in reading or in seeing the
play of a secret persuasion that Constance is herself —
perhaps unconsciously — keenly ambitious. She is am-
bitious for Norbert, and she interprets his ambitions by
her own temperament, intensifying and misconceiving
their relative value. This is perhaps reading into the
drama more than Browning meant ; but the poet has
made Constance so human that each reader must inter-
pret her for himself.
When she discovers later that ambition is in Nor-
bert' s mind subordinate to his passion she again meets
him instandy on this new plane to which she had not
before risen. The two points in the poem which seem
to me most important, as far as the self-sacrifice of
Constance is concerned, are the " He shall " just
quoted and the line :
** You were mme. Now I give myself to you.**
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3|ntroiiuctlan xxix
In the first she declares to the unconscious Queen her
giving up of Norbert ; in the second she declares to
her equally unconscious lover that she gives him up for
his own sake. She shows throughout a keen fear, a fear
which seems almost more intellectual than passionate,
lest harm come to Norbert through his love to her.
After the Queen has been with her she satisfies her own
heart by protesting to him her utter devotion; when
the Queen returns, still failing to understand him, she
proves her self-abandonment by trying by a supreme
sacrifice to keep for him her mistress' fevor, — *' tempt-
ing him with a crown." Only at the last does she see
him as he is, and her hitherto intellectual love bursts,
with the swiftness which is so strongly marked in all
that pertains to her character, into complete and pas-
sionate devotion.
The real core of the play is this development of the
love of Constance. She allows herself to be loved; she
delights in the pretty play of intrigue ; she is proud of
the devotion of this man who is shaping the destinies
of the kingdom ; she is even great enough to be ready
to make to the Queen the highest sacrifice of which
her nature as it then is can be capable : but she is not
touched by the flame of that passion which makes the
very soul of Norbert incandescent. The great motiv
of In a Balcony is the awakening of the inmost con-
sciousness of Constance to the nature and the greatness
of the love of Norbert and her quick response to that
call which this perception makes to her highest and
most feminine nature.
The significance of the conclusion has been much
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XXX JRntroOttctimt
discussed. Of this little need be said here further
than to give the following extract from a private letter,
which is quoted in the Century Magazine for Febru-
ary, 1892 :
" He [Browning] seemed as full of dramadc inter-
est in reading 'In a Balcony * as if he had just written it
for our benefit. One who sat near him said that it was
the natural sequence that the step of the guard should
be heard coming to take Norbert to his doom, as, with
a nature like the Queen's, who had known only one
hour of joy in her sterile life, vengeance swift and ter-
rible would follow on the sudden destruction of her
happiness. « Now I don't quite think that,' answered
Browning, as if he were following out the play as a
spectator. *The Queen had a large and passionate
temperament, which had only once been touched and
brought into life. She would have died, as by a knife
in her heart. The guards would have come to carry
away her dead body.' 'But I imagine most people
interpret it as I do,' was the reply. *Then,' said
Browning, with quick interest, * don't you think it
would be well to put it in the stage directions, and
have it seen that they were carrying her across the back
of the stege?' "
Whether Browning was entirely in earnest in say-
ing this seems at least an open question. He was not
accustomed to explam his work to anybody, and his last
suggestion might be construed as a quiz. Certain it is
that many readers, perhaps most, will continue to believe
the Queen alive within there and the footsteps of the
guard pregnant with sinister meanings. The matter is.
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Jncromtction xxxi
however, of little consequence if the view of the signi-
ficance of the poem just given is right. To call the
drama incomplete, — *' equivalent to the third or fourth
act of what might prove a tragedy or a drama," is Mrs.
Sutherland Orr's way of putting it, — or to consider
of importance what comes after the closing words of
Constance, is to ignore the fact that the aim is to pic-
ture the regeneration of the soul of Constance from
intellectual love to supreme passion, her rise from intel-
lectual self-sacrifice to that complete self-surrender which
is the highest phase of human love ; and to fail to
consider how this aim is completely accomplished be-
fore the curtain falls.
The title, A SouPs Tragedy ^ has puzzled more than
one critic. Mr. Stopford A. Brooke remarks:
*« Why this little thing is called J Sours Tragedy
I cannot quite understand. That title supposes that
Chiappino loses his soul at the end of the play. But it
is plain from his talk with Eulalia that his soul is already
lost. He is not worse at the end, but perhaps on the
way to betterment. The tragedy is then m the dis-
covery by the people that he who was thought to be a
great soul is a fitiud. But that conclusion was not Brown-
ing'^ intention." — The Poetry of Robert Browning.
This misses the chief point of the work. The trag-
edy lies in the discovery by Chiappino of his own
worthlessness. He was at the beginning what he was
in the end, and Eulalia from the first estimated him
with cruel fairness. He was himself, however, blinded
by egotism and by self-love, and believed in his own
worth. In the end he faced his weakness and meanness
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xxxii mncroOttction
stripped of all disguises; he saw his worthlessncss, and he
knew that it had been mercilessly exposed before Eulalia.
In no other way than by seeing how his conduct looked
in the eyes of others could his vanity have been pierced,
but with Ogniben, Eulalia, and Luitolfo surroundmg him,
each in Rill possession of all the hcts, Chiappino could
no longer deceive himself. Certainly a soul could ex-
perience few tragedies more terrible.
The device of putting the first act, ** the poetry of
Chiappino' s life," into verse and the second act into
prose is more fancifiil than effective. It gives the work
as a whole a somewhat disjointed and unsatisfactory
quality. The verse, moreover, is not in the poet's best
vein. The prose is much of it delightfid. The talk of
Ogniben is so clever, so shrewd, so keen that the Legate
is constandy threatening to make a greater impression
than Chiappino. Miss Barrett — then but a recent ac-
quaintance of her future husband's — was entirely right
when she wrote to him: " Your Ogniben (here is my
only criticism in the ways of objection) seems to me
almost too wise for a crafty worldling;" but if this point
be waived, the second part is delightfid reading.
Browning wrote to Miss Barrett: ** It is all sneering
zndi disillusion,** And again: " Not a few points . . .
successful in design and execution, yet . . . subject-
matter and style are alike unpopular even for the literary
grex that stand aloof from the purer plebs, ' ' Miss Bar-
rett, on the other hand, writing perhaps with some
added fervor from the growing attachment not yet
spoken, says of the play: «* For my part it delights me
— and must raise your reputation as a poet and thinker
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3|ntrotmction xxxiii
. . . must, Chiappino is highly dramatic in the first
part, and speaks so finely sometimes that it is a wrench to
one's sympathies to find him overthrown." Again:
** The Soul's Tragedy is wonderful — it suggests the
idea of more various power than was necessary to
the completion of Luria.*' And yet again: '* The
Tragedy has wonderful things in it — thoughts, sug-
gestions, . . . and more and more I feel, that you never
did better dialogue than in the first part. Every pulse
of it is alive and individual — dramatic dialogue of the
best.*'
Even Miss Barrett, in the midst of all her enthusi-
asm, admitted that the Tragedy was not dramatically
of Browning's most satis&ctory work. The play has
hardly more characterization than )f. has dramatic move-
ment. The Legate is the most individual of its person-
ages; Chiappino comes next, but he is too obviously
meant to stand as a type; while Luitolfb and Eulalia
are simply puppets to carry out the poet's purpose.
In spite of all these obvious defects, however, the play
— or at least the second part — is so fvill of wit, of
wisdom, of penetrating humor, and of genial satire that
it remains perpetually delightful.
The question has often been touched upon whether
under different circumstances, with the impulse of a
play-loving time. Browning might not have been a
great dramatist and perhaps brought to the stage a new
golden age of the poetic drama. John Forster, in the
Examiner of May 7, 1837, comments on the produc-
tion of Browning's earliest play:
** This is the work of a writer who is capable of
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xxxiv 3nntroimction
achieving the highest objects and triumphs of dramatic
literature. They are not achieved here: but here they
lie, 'in the rough/ before the reader. Strafoni sug-
gests the most brilliant career of dramatic authorship
that has been known in our time. We are not sure
that it will be realized."
To speculate upon possibilities of this sort is gener-
ally futile, but it is fescinating and may be instructive
from the Hght thrown on the principles of art. Al-
ready it has been said that it seems that Browning
might have been led in the way of Dryden to continue
the composition of plays; and it is sure that he would
in time have learned much of stage-craft; but it does'
not seem probable that he, more than Dryden, could
have been a great playwright. The muse of neitho*
of these poets was naturally dramatic, and in the case
of either to work for the stage meant to work under
constraint and at a disadvantage.
In the power of analyzing the human soul Browning
greatly excelled Dryden, but in dramatic work this might
as easily be a hindrance as a help . The power of creating
character is by no means the same thing as the ability to
construct plays. The common use of the word *' dra-
matic ' ' in both cases inevitably causes confusion. When
Brownmg early commented upon his poems : '* Their
contents are always dramatic in principle, and so many
utterances of so many imag^ary persons," he apparentiy
showed that he himself labored under this error. He
felt in himself high powers of characterization, and even
if he did not misunderstand, he at least misnamed them
powers of dramatization. Constandy in his plays he
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3f|ntrotntction xxxv
is led out of the true dramatic road by Polity in char-
acterization. He dissects mental states when he should
show how temperament is outwardly manifested ; how
motives ripen into action ; how mind reacts upon mind.
He is, in a word, analytic when he should be synthetic.
This analysis, moreover, not only is shown by word
rather than by deed, but is too generally conveyed in
the form of deliberate self-exposition on the part of the
characters. Browning has the fault, one of the most
dangerous for a dramatist, of turning naturally and con-
standy to monologue. His personages proclaim them-
selves in words in a ^hion which may be masterly in
the closet, but which can never be properly forcefU on
the stage. Luria is not ready to drink poison until he
has spoken eighty lines of minute self-dissection ; Djabal
and Anael begin their most poignant interview with
a couple of asides in which they offer more than fifty
lines of explanation of their motives and emotions ; King
Victor takes eighty lines of soliloquy to insure against the
possibility that the hearers may misunderstand his mental
state. The audience at a play are littie concerned with
mental processes except as shown by events. They are
interested in what happens outwardly, and with moral
and mental changes and conditions as exhibited by deeds.
A drama, in short, should be the exhibition of character
by action ; whereas Browning makes a play an analysis
of character by speech. Ill-advised admirers of Brown-
ing may claim that the poet might or should have suc-
ceeded on the stage, but it is no more true in his case
than it was in that of Tennyson. The poet-laureate
had every advantage of great popularity, of the reputa-
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xxxvi 3|ntroiitt(tion
don and wonderful stage-management of Irving, of lav-
ish and rich setting, yet with all these his plays have
been a failure, just as the plays of Browning were a
failure. In either case a great poet was working under
conditions to which his genius could not conform, and
in both cases the result was in the end practically the
same.
It is something to be able, in these days of the un-
wholesome and the sensational, when the stage holds the .
mirror up not to nature so much as to morbid or vulgar
perversions, to add that Browning is always virile and
sound. With the Mephistophelian spirit that denies he
had nothing in common, nor for the neurotic or unclean
pessimism of his day had he sympathy or tolerance.
While as compared to his greatest poetry the plays must
be regarded as inferior, they are still full of manliness,
of vigor, and of deep interest; contributions to the lit-
erature of the nineteenth century of genuine merit and
of lasting value.
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THE TEXTS
Thi texts in this volume are those of the latest edition, 1 888-94,
which had the personal supervision of Robert Browning. The only
changes beyond those noted in the variants are the substitution, in
conformity vrith the usage of the series, of a ( for a [ on asides and
stage directions, and the addition of some evident punctuation which
had disappeared at the end of lines.
The variants given are chiefly from the first edition, for almost all
changes, except in the matter of punctuation and italics, were made in
the second edition of each play. The 1888-94 text has been care-
fully recollated with Nos. v, vi, vm, of B^U and Pomegranates^
1843, 1844, 1846, which contam the first editions of A Blot in
the * Scutcheon^ CoIombe*s Birthday , and ^ SouPs Tragedy , and with
the first version of In a Balcony y printed in Vol. n of AUn and
fFomenj 1 85 5. This has been necessary because existing texts are
inadequate as to variants and, especially some of the American re-
prints of the edition of 1888-94, are not free from oversights and
errors. The variants are generally improvements, though they do
not seem to be so in all cases. The two or three instances in
which misprints — in one case pointed out by Browning himself —
have been corrected are noted. The student has here, then, the
final form of the pbys as the poet wished them to stand. That
Browning was influenced more than has been supposed by popular
usage is perhaps shown by the careful change, in the 1888-94 edi-
tion of A SouPs Tr^edy^ of had rather to voould rather. That by
1 888 he had come to regard his plays as for the closet rather than
the stage is evident from his dropping, in A Blot in the * Scutcheon
and Colomhe*s Birthday ^ of all reiferences to the setting and the cur-
tain and of exit and exeunt, or the substitution for those words of
tome non-theatrical synonym such as goes out or ivithdraws.
Browning*s changes in punctuation are so numerous that the
attempt to note them all would require much space. They seem to
be caused m general quite as much by uncertainty on the part of the
poet as by any intelligent knowledge or theory of the effect or office of
punctuation, and they are constantly inconsistent. The editor u
enough of a conservative to find Browning*8 superabundant dashes,
dots, and marks of parenthesis, especially when they trouble the
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xxxviii tEP^ tEPe|K0
eye as they to often do by intruding themselves at the beginning
of the line, rather trying than enlightening. Browning evidently
had a feeling of a difference of value between a dash and three dots,
and apparently used the, dots to indicate a longer or more profound
pause than the dash. Often he combined them : —
When man perceires . . .
— Ah, I can only speak as for myself.
— Cthmbt^i Birthdajy ▼, Jl], 314.
Aft^r Studying all the passages like this noted, the editor arrived at
the somewhat remote theory that the dots to Browning*s mind re-
presented a feeling on the part of the speaker that what he had begun
was after all not to be said, that he had come to that which word
would not express ; while the dash indicated an outward rather than
an inner pause. The idea is a little fantastic, but not on that account
untenable. Even if it is true, the editor is not able to divine the dif-
ference in the placing of the dashes m passages like the following :
— Mast have him load me with his benefits
— For fortune's fiercest stroke.
— ^ SouVs *rrag$djy i, 173, 174.
— It had not looked so well to let me drop. -»
— J^.,i,loi.
The fact that in so many places Browning altered these marks
from one edition to another seems to indicate that he had some
theory — or perhaps more properly some feeling about thefar force.
The result, however, is not infrequently to give an effect not unlike
that produced by the young person who punctuates largely with emo-
tional dashes ; for instance: —
And God*s — So — seeing these men and myself.
And God*s : . so, seeing these men and myself.
-^A SwVs Tragtdj^ i, 146.
Here, and in many other lines the changes are in the line of sanity
and sobriety of punctuation.
All the prefntory nsatter of the original editions of the plays is
reproduced, but the tide-page of only ji Blot in the * Scutcheon is
given because In a Balcony had none and those of the three num-
bers of Belli and Pomegranates are, except in the name of the play
or a quotation, practically identicaL
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BELLS AND POMEGIUNATES.
N*^ V.-A BLOT IN THE 'SCUTCHEON.
IN THftSI ACTS.
BY ROBERT BROWNING.
LONDON t
BDWAftD MOXaN. DOVBR 8TREBT
Facsimilb Titlk-pagk.
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THEATRE ROYAL, DRURY LANE,
February ii, 1843.
PERSONS.
Mildred Tresham
GUENDOLEN TrESHAM .
Thorold, Lord Tresham
Austin Tresham ,
Henry, Earl Mertoun .
Gerard
Miss Helen Faucit.
Mrs, Stirling,
Mr, Phelps.
" Hudson.
** Anderson.
« G. Bennett.
Other retainers of Lord Tresham.
Time, 17-
Persons. The 1889 ed. omits the two preceding linet and the
names of the actors.
Lord. Earlm 1889 ed.
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1843
ACT I.
Scene I. — The interior of a lodge in Lord Tre-
shanCs park. Many Retainers crowded at
the windowy supposed to command a view of
the entrance to his mansion. Gerard^ the
warrener^ his back to a table on which are
flagons^ etc,
1st Retainer. Ay, do ! push, friends, and then
you 'II push down me !
— What for ? Does any hear a runner's foot
Or a steed's trample or a coach-wheel's cry ?
Is the Earl come or his least poursuivant ?
But there 's no breeding in a man of you
Save Gerard yonder : here 's a half-place yet,
Old Gerard !
Gerard. Save your courtesies, my friend.
Here is my place.
2nd Ret. Now, Gerard, out with it !
What makes you sullen, this of all the days
toarrener, his back. A, warrener, sitting alone, his back.
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4 SL 15lot in t^t '^nttd^eon [act i.
P the year ? To-day that young rich bountiful, lo
Handsome Earl Mertoun, whom alone they
match
With our Lord Tresham through the country-
side,
Is coming here in utmost bravery
To ask our master's sister's hand ?
Ger. What then ?
2nd Ret, What then ? Why, you, she speaks
to, if she meets 15
Your worship, smiles on as you hold apart
The boughs to let her through her forest walks.
You, always favourite for your no-deserts.
You 've heard, these three days, how Earl Mer-
toun sues
To lay his heart and house and broad lands. too 20
At Lady Mildred's feet : and while we squeeze
Ourselves into a mousehole lest we miss
One congee of the least page in his train.
You sit o' one side — " there 's the Earl," say
I —
" What then ? " say you !
jrd Ret. I '11 wager he has let 15
Both swans he tamed for Lady Mildred swim
Over the falls and gain the river !
Ger. Ralph,
Is not to-morrow my inspecting-day
For you and for your hawks ?
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Son. I] at 3i5lot in tift 'fsaxtfUfeon s
ph Ret. Let Gerard be !
He 's coarse-grained, like his carved black cross-
bow stock. 30
Ha, look now, while we squabble with him,
look!
Well done, now — is not this beginning, now.
To purpose ?
1st Ret. Our retainers look as fine —
That 's comfort. Lord, how Richard holds him-
self
With his white staff! Will not a knave behind 35
Prick him upright ?
jfth Ret. He 's only bowing, fool I
The Earl's man bent us lower by this much.
1st Ret. That 's comfort. Here 's a very
cavalcade !
jrd Ret. I don't sec wherefore Richard, and
his troop
Of silk and silver varlets there, should find 40
Their perfumed selves so indispensable
On high days, holidays ! Would it so disgrace
Our family, if I, for instance, stood —
In my right hand a cast of Swedish hawks,
A leash of greyhounds in my left ? —
Ger. —With Hugh 45
The logman for supporter, in his right
The bill-hook, in his left the brushwood-shears !
42 holidays. A, holy days.
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6 a IBlot hi tift '^ctttti^eon [act i.
jrd Ret. Out on you, crab ! What next,
what next ? The Earl !
1st Ret, Oh Walter, groom, our horses, do
they match
The Earl's ? Alas, that first pair of the six — 50
They paw the ground — Ah Walter ! and that
brute
Just on his haunches by the wheel !
6th Ret. Ay — ay!
You, Philip, are a special hand, I hear.
At soups and sauces : what 's a horse to you ?
D' ye mark that beast they 've slid into the midst 55
So cunningly ? — then, Philip, mark this further ;
No leg has he to stand on !
1st Ret. No ? That *s comfort.
2nd Ret. Peace, Cook ! The Earl descends.
Well, Gerard, see
The Earl at least ! Come, there 's a proper man,
I hope ! Why, Ralph, no falcon, Pole or Swede, 60
Has got a starrier eye.
jrd Ret. His eyes are blue :
But leave my hawks alone !
ph Ret. So young, and yet
So tall and shapely !
5/A Ret. Here's Lord Tresham's self!
There now — there's what a nobleman should be !
He 's older, graver, loftier, he 's more like 65
A House's head.
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Sons I] SI IBlOt ttl tift 'fSOXtt^tm 7
2nd Ret, But you *d not have a boy
— And what 's the Earl beside ? — possess too
soon
That stateliness ?
1st Ret. Our master takes his hand —
Richard and his white staff are on the move —
Back fall our people — (tsh ! — there 's Timothy 70
Sure to get tangled in his ribbon-ties,
And Peter's cursed rosette's a-coming off!)
— At last I see our lord's back and his friend's ;
And the whole beautiful bright company
Close round them — in they go !
Jumping down from the window-bench^
and making for the table and its jugs.
Good health, long life, 75
Great joy to our Lord Tresham and his House !
6th Ret. My father drove his father first to
court.
After his marriage day — ay, did he !
2nd Ret. God bless
Lord Tresham, Lady Mildred, and the Earl !
Here, Gerard, reach your beaker !
Ger. Drink, my boys ! 80
Don't mind me — all 's not right about me —
drink!
2nd Ret. (aside). He 's vexed, now, that he
let the show escape !
(To Gerard.) Remember that the Earl returns
this way.
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8 iBlot in tift '^ctttd^eon [act i.
Ger. That way ?
2nd Ret, Just so.
Ger. Then my way 's here. Goes,
2nd Ret. Old Gerard
Will die soon — mind, I said it ! He was used 85
To care about the pitifullest thing
That touched the House's honour, not an eye
But his could see wherein : and on a cause
Of scarce a quarter this importance, Gerard
Fairly had fretted flesh and bone away 90
In cares that this was right, nor that was wrong.
Such point decorous, and such square by rule —
He knew such niceties, no herald more :
And now — you see his humour : die he will !
[ jj/] Ret. God help him ! Who 's for the
great servants*-hall 95
To hear what 's going on inside ? They *d follow
Lord Tresham into the saloon.
3rd Ret. I! —
ph Ret. I ! —
Leave Frank alone for catching, at the door.
Some hint of how the parley goes inside !
Prosperity to the great House once more ! 100
Here *s the last drop !
1st Ret. Have at you ! Boys, hurrah !
84 Old Gerard, A and 1888 ed. incorrectly give both this
speech and God help . . . saloon to 2n4 Ret, ; D. 73-76 suggest
that the second speech belongs to ist Retainer.
92 point. A, a point, square ^ A omits.
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sc»*.ii.] ja IBlot ht tlie 'f^ctttd^eon 9
Scene II. — A Saloon in the Mansion.
Enter Lord Tresham^ Lord Mertoun^ Austin^ and
Guendolen,
Tresham. I welcome you, Lord Mertoun, yet
once more.
To this ancestral roof of mine. Your name
— Noble among the noblest in itself,
Yet taking in your person, fame avers.
New price and lustre, — (as that gem you wear, 5
Transmitted from a hundred knightly breasts.
Fresh chased and set and fixed by its last lord.
Seems to re-kindle at the core) — your name
Would win you welcome ! —
Mertoun, Thanks !
Tres. — But add to that.
The worthiness and grace and dignity 10
Of your proposal for uniting both
Our Houses even closer than respect
Unites them now — add these, and you must
grant
One favour more, nor that the least, — to think
The welcome I should give ; — 't is given ! My
lord, 15
My only brother, Austin : he 's the king's.
Our cousin. Lady Guendolen — betrothed
To Austin : all are yours.
Mert. I thank you — less
6 hundred. A, thousand.
Digitized by VjOOQIC
10 ja 3l5lot hi tH^t '^Ctttc^emt [act i.
For the expressed commendings which your
And only that, authenticates — forbids 20
My putting from me ... to my heart I take
Your praise . . . but praise less claims my
gratitude,
Than the indulgent insight it implies
Of what must needs be uppermost with one
Who comes, like me, with the bare leave to
ask, 25
In weighed and measured unimpassioned words,
A gift, which, if as calmly 't is denied.
He must withdraw, content upon his cheek.
Despair within his soul. That I dare ask
Firmly, near boldly, near with confidence 30
That gift, I have to thank you. Yes, Lord
Tresham,
I love your sister — as you'd have one love
That lady ... oh more, more I love her!
Wealth,
Rank, all the world thinks me, they 're yours,
you know.
To hold or part with, at your choice — but
grant 35
My true self, me without a rood of land,
17 <u calmly */ is denied. A, as quietly denied.
31 yes. A omits.
34 me. Italicized m A. Italics were, with few exceptions, dis-
carded after the edition of 1849. 36 me. Italicized in A.
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scEN> II.] a 15lot in tl9t '^ctttc^eon 1 1
A piece of gold, a name of yesterday,
Grant me that lady, and you . . . Death or
life?
GuendoUn {apart to Austin). Why, this is
loving, Austin !
Austin. He 's so young !
Guen. Young? Old enough, I think, to
half surmise 40
He never had obtained an entrance here.
Were all this fear and trembling needed.
Aust. Hush !
He reddens.
Guen. Mark him, Austin ; that 's true love !
Ours must begin again.
Tres. We *11 sit, my lord.
Ever with best desert goes diffidence. 45
I may speak plainly nor be misconceived.
That I am wholly satisfied with you
On this occasion, when a falcon's eye
Were dull compared with mine to search out
faults.
Is somewhat. Mildred's hand is hers to give 5®
Or to refuse.
Mert. But you, you grant my suit ?
I have your word if hers ?
Tres. My best of words
If hers encourage you. I hope it will.
Have you seen Lady Mildred, by the way ?
39 is. Italicized in A. 53 hope. A, trust.
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1 2 iBlot in tift '^ottc^emt [act i.
Alert, I • . . I . . . our two demesnes, re-
member, touch ; 55
I have been used to wander carelessly
After my stricken game : the heron roused
Deep in my woods, has trailed its broken wing
Thro* thicks and glades a mile in yours, — or
else
Some eyass ill-reclaimed has taken flight 6o
And lured me after her from tree to tree,
I marked not whither. I have come upon
The lady's wondrous beauty unaware.
And — and then ... I have seen her.
Guen. (aside to Justin). Note that mode
Of faltering out that, when a lady passed, 65
He, having eyes, did see her ! You had said —
'' On such a day I scanned her, head to foot ;
'' Observed a red, where red should not have
been,
** Outside her elbow ; but was pleased enough
'' Upon the whole.*' Let such irreverent talk 70
Be lessoned for the future !
Tres. What *s to say
May be said briefly. She has never known
A mother's care ; I stand for father too.
Her beauty is not strange to you, it seems —
You cannot know the good and tender heart, 75
Its girl's trust and its woman's constancy.
How pure yet passionate, how calm yet kind.
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soNBii.] <a Blot In c|e '^^ottcleon 13
How grave yet joyous, how reserved yet free
As light where friends are — how imbued with
lore
The world most prizes, yet the simplest, yet 80
The . . . one might know I talked of Mildred
— thus
We brothers talk !
Mert. I thank you.
Tres. In a word.
Control 's not for this lady ; but her wish
To please me outstrips in its subtlety
My power of being pleased : herself creates 85
The want she means to satisfy. My heart
Prefers your suit to her as *t were its own.
Can I say more ?
Mtrt. No more — thanks, thanks — no
more !
Tr^j. This matter then discussed . . .
Mert. — We '11 waste no breath
On aught less precious. I 'm beneath the roof 90
Which holds her : while I thought of that, my
speech
To you would wander — as it must not do.
Since as you favour me I stand or fall.
I pray you suffer thafr I take my leave !
Tr/j. With less regret 't is suffered, that again 95
We meet, I hope, so shortly.
91 thought. A, think. 91 Which, A, That.
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14 SL IBlot ht t^t '^ctttd^eon [act i.
Mert. We ? again ? —
Ah, yes, forgive me — when shall . . . you will
crown
Your goodness by forthwith apprising me
When ... if ... the lady will appoint a day
For me to wait on you — and her.
Tres, So soon loo
As I am made acquainted with her thoughts
On your proposal — howsoe'er they lean —
A messenger shall bring you the result.
Mert. You cannot bind me more to you, my
lord.
Farewell till we renew ... I trust, renew 105
A converse ne'er to disunite again.
Tres, So may it prove !
Mert, You, lady, you, sir, take
My humble salutation !
Guen. and Just. Thanks !
Tres. Within there !
Servants enter. Tresham conducts Mer-
toun to the door. Meantime Austin
remarksy
Well,
Here I have an advantage of the Earl,
Confess now ! I'd not think that all was safe no
Because my lady's brother stood my friend !
Why, he makes sure of her — "do you say, yes —
no /v. I italicized in A.
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'' She '11 not say, no/* — what conies it to beside ?
I should have prayed the brother, ^^ speak this
speech,
" For Heaven's sake urge this on her — put in
this — "5
'' Forget not, as you M save me, t' other thing, —
'' Then set down what she says, and how she
looks,
*' And if she smiles, and " (in an under breath)
'' Only let her accept me, and do you
" And all the world refuse me, if you dare ! '* n©
Guen. That way you *d take, friend Austin ?
What a shame
I was your cousin, tamely from the first
Your bride, and all this fervour 's run to waste !
Do you know you speak sensibly to-day ?
The Earl *s a fool.
Aust. Here *s Thorold. Tell him so ! 115
Tns. {returning). Now, voices, voices! *St!
the lady 's first !
How seems he ? — seems he not . . . come,
faith give fraud
The mercy-stroke whenever they engage !
Down with fraud, up with faith ! How seems
the Earl?
A name ! a blazon ! if you knew their worth, 130
As you will never! come — the Earl ?
X14 J. Italicized in A.
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i6 ja 3Blot in t^t '^ottc^een [act i.
Guen, He *s young.
Tres. What 's she ? an infant save in heart
and brain.
Young! Mildred is fourteen, remark! and
you . . .
Austin, how old is she ?
Guen. There *s tact for you !
I meant that being young was good excuse 135
If one should tax him . . .
Tres. Well?
Guen. — With lacking wit.
Tres. He lacked wit ? Where might he lack
wit, so please you ?
Guen. In standing straighter than the stew-
ard's rod
And making you the tiresomest harangue,
Instead of slipping over to my side 140
And softly whispering in my ear, " Sweet lady,
*' Your cousin there will do me detriment
" He little dreams of: he*s absorbed, I see,
'' In my old name and fame — be sure he '11 leave
" My Mildred, when his best account of me 145
" Is ended, in full confidence I wear
'' My grandsire's periwig down either cheek.
" I 'm lost unless your gentleness vouch-
safes" . . .
Tres. ..." To give a best of best accounts,
yourself,
139 harangue. A, harangues.
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sciN. II.] ;a 5iBiot in tfte '^cutcl^eon 1 7
Of me and my demerits." You are right ! 150
He should have said what now I say for him.
Yon golden creature, will you help us all ?
Here 's Austin means to vouch for much, but
you
— You are . . . what Austin only knows !
Come up,
All three of us : she 's in the library 155
No doubt, for the day 's wearing fast. Precede 1
Guen. Austin, how we must — !
Tres, Must what ? Must speak truth,
Malignant tongue ! Detect one fault in him !
I challenge you !
Guen, Witchcraft 's a fault in him,
For you 're bewitched.
Tres, What 's urgent we obtain 160
Is, that she soon receive him — say, to-mor-
row —
Next day at furthest.
Guen, Ne'er instruct me !
Tres, Come !
— He 's out of your good graces, since forsooth.
He stood not as he 'd carry us by storm
With his perfections ! You 're for the com-
posed 165
Manly assured becoming confidence !
152 Ton. A, You. B, Yon. Tou is probably correct.
162 furtAest. A, farthest.
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i8 <li Blot in tl9t 'fsmttlftm [act i.
— Get her to say, ** to-morrow," and I '11 give
you . • .
I '11 give you black Urganda, to be spoiled
With petting and snail-paces. Will you ? Come !
Scene IIL — Mildred's chamber. J painted win--
dow overlooks the park. Mildred and Guendolen.
Guendolen. Now, Mildred, spare those pains.
I have not left
Our talkers in the library, and climbed
The wearisome ascent to this your bower
In company with you, — I have not dared . . .
Nay, worked such prodigies as sparing you 5
Lord Mertoun's pedigree before the flood.
Which Thorold seemed in very act to tell
— Or bringing Austin to pluck up that most
Firm-rooted heresy — your suitor's eyes.
He would maintain, were gray instead of
blue — 10
I think I brought him to contrition ! — Well,
I have not done such things, (all to deserve
A minute's quiet cousin's talk with you,)
To be dismissed so coolly.
Mildred. Guendolen !
What have I done ? what could suggest . . .
Guen. There, there ! 15
Do I not comprehend you *d be alone
To throw those testimonies in a heap.
Overlooks . . . park. A, in the background.
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sciN.111.] at 5IBlot in tl^ '^Ctttcl^eon 19
Thorold's enlargings, Austin's brevities,
With that poor silly heartless Guendolen's
Ill-timed misplaced attempted smartnesses — 20
And sift their sense out ? now, I come to spare
you
Nearly a whole night's labour. Ask and have !
Demand, be answered ! Lack I ears and eyes ?
Am I perplexed which side of the rock-table
The Conqueror dined on when he landed first, 25
Lord Mertoun's ancestor was bidden take —
The bow-hand or the arrow-hand's great meed ?
Mildred, the Earl has soft blue eyes !
Mil. My brother —
Did he . . . you said that he received him
well?
Guen. If I said only "well" I said not
much. 30
Oh, stay — which brother ?
MiL Thorold ! who — who else ?
Guen, Thorold (a secret) is too proud by
half,—
Nay, hear me out — with us he 's even gentler
Than we are with our birds. Of this great
House
The least retainer that e'er caught his glance 35
Would die for him, real dying — no mere talk :
And in the world, the court, if men would cite
The perfect spirit of honour, Thorold's name
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20 ;a 5IBlot in tl^t '^tatd^eon [act i.
Rises of its clear nature to their lips.
But he should take men's homage, trust in it, 40
And care no more about what drew it down.
He has desert, and that, acknowledgment ;
Is he content ?
Mil. You wrong him, Guendolen.
Guen. He 's proud, confess ; so proud with
brooding o'er
The light of his interminable line, 45
An ancestry with men all paladins,
And women all . . .
Mil. Dear Guendolen, 't is late !
When yonder purple pane the climbing moon
Pierces, I know 't is midnight.
Guen. Well, that Thorold
Should rise up from such musings, and receive 50
One come audaciously to graft himself
Into this peerless stock, yet find no flaw,
No slightest spot in such an one ...
Mil. Who finds
A spot in Mertoun ?
Guen, Not your brother ; therefore.
Not the whole world.
Mil. I am weary, Guendolen. 55
Bear with me !
Guen. I am foolish.
Mil. Oh no, kind !
But I would rest.
55 I am. A, I*m.
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sc»f>in.] ;a Blot in tl|t '^eutclieott 21
Guen. Good night and rest to you !
I said how gracefully his mantle lay
Beneath the rings of his light hair ?
Mil. Brown hair.
Guen, Brown ? why, it is brown : how could
you know that ? ^
Aftl. How ? did not you — Oh, Austin 't was,
declared
His hair was light, not brown — my head ! —
and look.
The moon-beam purpling the dark chamber!
Sweet,
Good night !
Guen, Forgive me — sleep the soundlier for
me ! Goings she turns suddenly,
Mildred!
Perdition ! all *s discovered ! Thorold finds 65
— That the Earl's greatest of all grandmothers
Was grander daughter still — to that fair dame
Whose garter slipped down at the famous dance !
Goes,
Mil, Is she — can she be really gone at last ?
My heart ! I shall not reach the window.
Needs 70
Must I have sinned much, so to suffer.
She lifts the small lamp which is suspended
before the Virgin* s image in the win-
doWy and places it by the purple pane.
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22 iBlot in t^t '^eutclemi [act i.
There !
She returns to the seat in front.
Mildred and Mertoun ! Mildred, with consent
Of all the world and Thorold, Mertoun's bride !
Too late ! *T is sweet to think of, sweeter still
To hope for, that this blessed end soothes up 75
The curse of the beginning ; but I know
It comes too late : 't will sweetest be of all
To dream my soul away and die upon.
jf noise without.
The voice ! Oh why, why glided sin the snake
Into the paradise Heaven meant us both ? 80
The window opens softly. A low voice sings.
There *s a woman like a dew-drop^ she 's so purer
than the purest ;
And her noble heart 's the noblest^ yeSy and her sure
faith ' J the surest :
And her eyes are dark and humid^ like the depth on
depth of lustre
Hid /* the harebell^ while her tresses^ sunnier than
the wild-grape cluster ^
Gush in golden-tinted plenty down her neck^s rose-
misted marble : 85
Then her voice* s music . . . call it the well^s bub-
blingy the bird's warble I
(A figure wrapped in a mantle appears
at the window.
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SCB..III.] iBlot in t^e 'j^tatd^emt 23
And this woman says^ ** My days were sunless and
my nights were moonless^
** Parched the pleasant April herbage^ and the lark^s
hearfs outbreak tuneless^
** If you loved me not ! " And I who — {ah^ for
words of flame /) adore her^
Who am mad to lay my spirit prostrate palpably
before her — 90
(//I? enters^ approaches her seat^ and
bends over her.
I may enter at her portal soon^ as now her lattice
takes me J
And by noontide as by midnight make her mine^ as
hers she makes me !
{7 he Earl throws off his slouched hat
and long cloak*
My very heart sings, so I sing, Beloved !
Mil. Sit, Henry — do not take my hand !
Mertoun. 'T is mine.
The meeting that appalled us both so much 95
Is ended.
Mil. What begins now ?
Mert. Happiness
Such as the world contains not.
Mil. That is it.
Our happiness would, as you say, exceed
The whole world's best of blisses : we — do we
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24 a 5IBlot in t^e 'J&mtd^eon [act i.
Deserve that ? Utter to your soul, what mine loo
Long since, Beloved, has grown used to hear,
Like a death-knell, so much regarded once.
And so familiar now j this will not be !
Mert. Oh, Mildred, have I met your brother's
face ?
Compelled myself — if not to speak untruth, 105
Yet to disguise, to shun, to put aside
The truth, as — what had e'er prevailed on mc
Save you, to venture ? Have I gained at last
Your brother, the one scarer of your dreams.
And waking thoughts' sole apprehension too ? "o
Does a new life, like a young sunrise, break
On the strange unrest of our night, confused
With rain and stormy flaw — and will you see
No dripping blossoms, no fire-tinted drops
On each live spray, no vapour steaming up, 115
And no expressless glory in the East ?
When I am by you, to be ever by you.
When I have won you and may worship you,
Oh, Mildred, can you say " this will not be " ?
Mil. Sin has surprised us, so will punishment. 120
Mert. No — me alone, who sinned alone !
Mil. The night
You likened our past life to — was it storm
Throughout to you then, Henry ?
Mert. Of your life
112 our. Ay the.
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scM«iii.] ;a JIBlot in tl^e '^ttttcleoit 25
I spoke — what am I, what my life, to waste
A thought about when you are by me ? — you 125
It was, I said my folly called the storm
And pulled the night upon. 'Twas day with me —
Perpetual dawn with me.
Mil, Come what, come will.
You have been happy : take my hand !
Mert, (after a pause). How good
Your brother is ! I figured him a cold — 130
Shall I say, haughty man ?
Mil. They told me all.
I know all.
Mert, It will soon be over.
Mil. Over ?
Oh, what is over ? what must I live through
And say, " *t is over " ? Is our meeting over ?
Have I received in presence of them all »35
The partner of my guilty love — with brow
Trying to seem a maiden's brow — with lips
Which make believe that when they strive to
form
Replies to you and tremble as they strive,
It is the nearest ever they approached 140
A stranger's . . . Henry, yours that stranger's
... lip —
With cheek that looks a virgin's, and that is . . .
128 The comma after luhat u in all the edidons, but is certainly
an error.
142 it. Italicized in A.
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26 iBlot in tl^e '^^entt^tm [act l
Ah, God, some prodigy of thine will stop
This planned piece of deliberate wickedness
In its birth even ! some fierce leprous spot 145
Will mar the brow's dissimulating ! I
Shall murmur no smooth speeches got by heart,
But, frenzied, pour forth all our woeful story,
The love, the shame, and the despair — with
them
Round me aghast as round some cursed fount 150
That should spirt water, and spouts blood. I '11
not
• . • Henry, you do not wish that I should
draw
This vengeance down ? I '11 not affect a
grace
That 's gone from mc — gone once, and gone
for ever !
Mert, Mildred, my honour is your own. I '11
share 155
Disgrace I cannot suffer by myself.
A word informs your brother I retract
This morning's offer ; time will yet bring forth
Some better way of saving both of us.
Mil. I '11 meet their faces, Henry !
Mert, When ? to-morrow ! i6a
Get done with it I
Mil. Oh, Henry, not to-morrow !
1 50 Of round. A, as men round. 160 to-morrow f A, to-monow ?
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scuuiii.] j9 jBlot in t|ie 'jlKutcliean 27
Next day ! I never shall prepare my words
And looks and gestures sooner. — How you
must
Despise me !
MerU Mildred, break it if you choose,
A heart the love of you uplifted — still 165
Uplifts, thro* this protracted agony.
To heaven ! but Mildred, answer me, — first
pace
The chamber with me — once again — now,
say
Calmly the part, the . • • what it is of me
You see contempt (for you did say contempt) 170
— Contempt for you in ! I will pluck it off
And cast it from me ! — but no — no, you *11
not
Repeat that ? — will you, Mildred, repeat that ?
Mil. Dear Henry !
Mert. I was scarce a boy — e'en now
What am I more ? And you were infantine 175
When first I met you; why, your hair fell
loose
On either side ! My fooPs-cheek reddens now
Only in the recalling how it burned
That mom to see the shape of many a dream —
You know we boys are prodigal of charms 180
To her we dream of — I had heard of one.
Had dreamed of her, and I was close to her.
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28 ;a Blot in t^t '^nttcl^eon [act i.
Might speak to her, might live and die her own.
Who knew ? I spoke. Oh, Mildred, feel you
not
That now, while I remember every glance 185
Of yours, each word of yours, with power to
test
And weigh them in the diamond scales of pride.
Resolved the treasure of a first and last
Heart's love shall have been bartered at its
worth,
— That now I think upon your purity 190
And utter ignorance of guilt — your own
Or other's guilt — the girlish undisguised
Delight at a strange novel prize — (I talk
A silly language, but interpret, you !)
If I, with fancy at its full, and reason 195
Scarce in its germ, enjoined you secrecy.
If you had pity on my passion, pity
On my protested sickness of the soul
To sit beside you, hear you breathe, and watch
Your eyelids and the eyes beneath — if you 200
Accorded gifts and knew not they were gifts —
If I grew mad at last with enterprise
And must behold my beauty in her bower
Or perish — (I was ignorant of even
My own desires — what then were you ?) if sor-
row — 205
Sin — if the end came — must I now renounce
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Scene III.] ^ Mt>t iXt tH^t '^Catt^tm 29
My reason, blind myself to light, say truth
Is false and lie to God and my own soul ?
Contempt were all of this !
Mil. Do you believe .
Or, Henry, I '11 not wrong you — you believe 210
That I was ignorant. I scarce grieve o'er
The past. We'll love on; you will love me
still.
Mn-t. Oh, to love less what one has injured !
Dove,
Whose pinion I have rashly hurt, my breast —
Shall my heart's warmth not nurse thee into
strength ? 215
Flower I have crushed, shall I not care for
thee ?
Bloom o'er my crest, my fight-mark and device 1
Mildred, I love you and you love me.
Mil. Go !
Be that your last word. I shall sleep to-night.
Mert. This is not our last meeting ?
Mil. ' One night more. 220
Mert. And then — think, then !
Mil. Then, no sweet courtship-days.
No dawning consciousness of love for us.
No strange and palpitating births of sense
From words and looks, no innocent fears and
hopes,
Reserves and confidences : morning 's over ! 225
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30 il 5IBlot in tl^e 'J&Ctttcl^oti [acti.
Mert. How else should love's perfected noon-
tide follow ?
All the dawn promised shall the day perform.
Mil. So may it be ! but
You are cautious, Love ?
Are sure that unobserved you scaled the walls ?
Mert, Oh, trust me ! Then our final meet-
ing's fixed %io
To-morrow night ?
Mil. Farewell! Stay, Henry. . . .
wherefore ?
His foot is on the yew-tree bough ; the turf
Receives him \ now the moonlight as he runs
Embraces him — but he must go — is gone.
Ah, once again he turns — thanks, thanks, my >
Love ! »35
He *s gone. Oh, I '11 believe him every word !
I was so young, I loved him so, I had
No mother, God forgot me, and I fell.
There may be pardon yet : all 's doubt beyond.
Surely the bitterness of death is past. 240
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ACT II.
Scene. — The Library.
Enter Lord Tresham^ hastily.
Tresham. This way ! In, Gerard, quick !
As Gerard enters ^ Tresham secures the door.
Now speak ! or, wait —
I '11 bid you speak directly. Seats himself.
Now repeat
Firmly and circumstantially the tale
You just now told me ; it eludes me ; either
I did not listen^ or the half is gone
Away from me. How long have you lived here ?
Here in my house, your father kept our woods
Before you ?
Gerard, — As his father did, my lord.
I have been eating, sixty years almost,
Your bread.
Tres, Yes, yes. You ever were of all
The servants in my father's house, I know.
The trusted one. You '11 speak the truth.
Ger, I '11 speak
God's truth. Night after night . . .
Tres, Since when ?
Ger. At least
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32 jai IBlot in tift 'j^cutclieon [act ii.
A month — each midnight has some man ac-
cess
To Lady Mildred's chamber.
Tr^s. Tush, " access ** — 15
No wide words like " access '* to me !
Ger. He runs
Along the woodside, crosses to the South,
Takes the left tree that ends the avenue . . •
Tres. The last great yew-tree ?
Ger. You might stand upon
The main boughs like a platform. Then he . . •
Tres. Quick! ao
Ger. Climbs up, and, where they lessen at the
top,
— I cannot see distinctly, but he throws,
I think — for this I do not vouch — a line
That reaches to the lady's casement —
Tres. — Which
He enters not ! Gerard, some wretched fool 15
Dares pry into my sister's privacy!
When such are young, it seems a precious
thing
To have approached, — to merely have ap-
proached.
Got sight of, the abode of her they set
Their frantic thoughts upon. He does not enter ? 30
Gerard ?
Ger. There is a lamp that 's full i' the midst,
31 P tke midst. A, in the midtt.
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sciNi I] Si IBlot fit tUft 'j^nttd^eon 33
Under a red square in the painted glass
Of Lady MUdred's . . .
Tres. Leave that name out ! Well ?
That lamp ?
G^. — Is moved at midnight higher up
To one pane — a small dark-blue pane ; he waits 35
For that among the boughs : at sight of that,
I see him, plain as I see you, my lord.
Open the lady's casement, enter there . . .
Tres. — And stay ?
Ger. An hour, two hours.
Tr^s. And this you saw
Once ? — twice ? — quick !
Ger. Twenty times.
Tres, And what brings you 40
Under the yew-trees ?
Gn-. The first night I left
My range so far, to track the stranger stag
That broke the pale, I saw the man.
Tns. Yet sent
No cross-bow shaft through the marauder ?
Ger. But
He came, my lord, the first time he was seen, 45
In a great moonlight, light as any day.
From Lady Mildred's chamber.
Tres. (after a pause). You have no cause
— Who could have cause to do my sister
wrong ?
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34 9i Blot intlft '^(tttc^eon [act ii.
Ger, Oh, my lord, only once — let me this
once
Speak what is on my mind ! Since first I noted 50
All this, I 've groaned as if a fiery net ^
Plucked me this way and that — fire if I turned
To her, fire if I turned to you, and fire
If down I flung myself and strove to die.
The lady could not have been seven years old 55
When I was trusted to conduct her safe
Through the deer-herd to stroke the snow-white
fawn
I brought to eat bread from her tiny hand
Within a month. She ever had a smile
To greet me with — she ... if it could undo 60
What 's done, to lop each limb from ofF this
trunk . . .
All that is foolish talk, not fit for you —
I mean, I could not speak and bring her hurt
For Heaven's compelling. But when I was fixed
To hold my peace, each morsel of your food 65
Eaten beneath your roof, my birth-place too.
Choked me. I wish I had grown mad in doubts
What it behoved me do. This morn it seemed
Either I must confess to you, or die :
Now it is done, I seem the vilest worm 70
That crawls, to have betrayed my lady.
Tres. No —
No, Gerard !
68 do. A, to do.
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scnis I] <2i iBlot in tift 'fDott^n 35
Ger. Let me go !
Tres. A man, you say :
What man ? Young ? Not a vulgar hind ? What
dress ?
Ger. A slouched hat and a large dark foreign
cloak
Wraps his whole form ; even his face is hid ; 75
But I should judge him young : no hind, be sure !
Tres. Why?
Ger. He is ever armed : his sword projects
Beneath the cloak,
Tres. Gerard — I will not say
No word, no breath of this !
Ger. Thanks, thanks, my lord ! Goes.
Tres. (paces the room. After a pause). Oh,
thought 's absurd ! — as with some mon-
strous fact 80
Which, when ill thoughts beset us, seems to give
Merciful God that made the sun and stars.
The waters and the green delights of earth.
The lie ! I apprehend the monstrous fact —
Yet know the maker of all worlds is good, 85
And yield my reason up, inadequate
To reconcile what yet I do behold —
Blasting my sense! There's cheerful day outside:
This is my library, and this the chair
77 projects, Beginf next line in A.
80 OA , . , fact. A, Oh, thought *8 absurd here! — like some
monstrous fact. 8i ff^JUcA, A, That. 82 Go4. A, Heaven.
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36 9i ISlot fit tl^ 'fsmu^ton [act n.
My father used to sit in carelessly 90
After his soldier-fashion, while I stood
Between his knees to question him : and here
Gerard our gray retainer, — as he says,
Fed with our food, from sire to son, an age, —
Has told a story — I am to believe ! 95
That Mildred . . . oh, no, no ! both tales are true.
Her pure cheek's story and the forester's !
Would she, or could she, err — much less, con-
found
Allguiltsoftreachery, of craft, of . . . Heaven
Keep me within its hand ! — I will sit here 100
Until thought settle and I see my course.
Avert, oh God, only this woe from me !
j/s he sinks his bead between his arms
on the tabliy Guendolen's voice is heard
at the door.
Lord Tresham ! {She knocks.) Is Lord Tresham
there?
Tresham^ hastily turnings pulls down the
first book above him and opens it.
Tres. Come in ! {She enters.) Ha, Guendo-
len ! — good morning.
Guen. Nothing more ?
Tres. What should I say more ?
Guen. Pleasant question ! more ? 105
This more. Did I besiege poor Mildred's brain
loi tettU. A, settles. 104 Ha, A, Ah.
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Sam I] Si JBiMin tfft 'l&attcl^eoti 37
Last night till close on morning with '* the Earl,"
'* The Earl " — whose worth did I asseverate
Till I am very fain to hope that . . . Thorold,
What is all this ? You are not well !
Tres. Who, I?iio
You laugh at me.
Guen. Has what I 'm fain to hope,
Arrived then ? Does that huge tome show some
blot
In the Earl's 'scutcheon come no longer back
Than Arthur's time ?
Tres. When left you Mildred's chamber ?
Gu€n, Oh, late enough, I told you! The
main thing zz5
To ask is, how I left her chamber, — sure,
Content yourself, she '11 grant this paragon
Of Earls no such ungracious . . .
Tres. Send her here !
Guen. Thorold?
Tres. I mean — acquaint her, Guendolen,
— But mildly !
Guen. Mildly?
Tns. Ah, you guessed aright ! i*o
I am not well : there is no hiding it.
But tell her I would see her at her leisure —
That is, at once ! here in the library !
The passage in that old Italian book
We hunted for so long is found, say, found — 125
116 ker. A, the.
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38 jailSlot fit t|ie 'Ibeiifidlieati [acth.
And if I let it slip again . • • you see.
That she must come — and instantly !
Guen. I '11 die
Piecemeal, record that, if there have not gloomed
Some blot i' the 'scutcheon !
Tres. Go ! or, Guendolen,
Be you at call, — with Austin, if you choose, — 130
In the adjoining gallery ! There, go !
Guindolen goes.
Another lesson to me ! You might bid
A child disguise his heart's sore, and conduct
Some sly investigation point by point
With a smooth brow, as well as bid me catch 135
The inquisitorial cleverness some praise.
If you had told me yesterday, *' There 's one
** You needs must circumvent and practise with,
*' Entrap by policies, if you would worm
" The truth out : and that one is — Mildred ! "
There, 140
There — reasoning is thrown away on it !
Prove she 's unchaste . . . why, you may after
prove
That she 's a poisoner, traitress, what you will !
Where I can comprehend nought, nought 's to
say.
Or do, or think. Force on me but the first 145
Abomination, — then outpour all plagues.
And I shall ne'er make count of them.
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s«N> I.] j9 iBiot in tift *f»mttfmti 39
Enter Mildred.
Mildred. What book
Is it I wanted, Thorold ? Guendolen
Thought you were pale ; you are not pale. That
book?
That 's Latin surely.
Tres. Mildred, here 's a line, 150
(Don't lean on me : I *11 English it for you)
*' Love conquers all things." What love con-
quers them ?
What love should you esteem — best love ?
Mil. True love.
Tres. I mean, and should have said, whose
love is best
Of all that love or that profess to love ? iS5
Mil. The list's so long: there's father's,
mother's, husband's . . .
Tres. Mildred, I do believe a brother's love
For a sole sister must exceed them all.
For see now, only see ! there 's no alloy
Of earth that creeps into the perfect'st gold 160
Of other loves — no gratitude to claim ;
You never gave her life, not even aught
That keeps life — never tended her, instructed.
Enriched her — so, your love can claim no right
O'er her save pure love's claim : that 's what I
call 165
l6% aughu A, the drcMB. 165 O'er her. A, 0*er her*s.
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Freedom from earthliness. You *11 never hope
To be such friends, for instance, she and you.
As when you hunted cowslips in the woods
Or played together in the meadow hay.
Oh, yes — with age, respect comes, and your
worth 170
Is felt, there 's growing sympathy of tastes.
There 's ripened friendship, there 's confirmed
esteem :
— Much head these make against the new-
comer !
The startling apparition, the strange youth —
Whom one half-hour's conversing with, or, say, 175
Mere gazing at, shall change (beyond all change
This Ovid ever sang about) your soul
. . . Her soul, that is, — the sister's soul!
With her
*T was winter yesterday ; now, all is warmth.
The green leaPs springing and the turtle's voice, 180
** Arise and come away ! " Come whither ? —
far
Enough from the esteem, respect, and all
The brother's somewhat insignificant
Array of rights ! All which he knows before.
Has calculated on so long ago ! 185
I think such love, (apart from yours and mine,)
Contented with its little term of life,
178 Her, Italiciced m A.
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Semi.] a iBlot fit tl^e 'j^cotclieon 41
Intending to retire betimes, aware
How soon the background must be place for it,
— I think, am sure, a brother's love exceeds 190
All the world's love in its unworldliness.
Mil. What is this for ?
Tns. This, Mildred, is it for !
Or, no, I cannot go to it so soon !
That *s one of many points my haste left out —
Each day, each hour throws forth its silk-slight
film 195
Between the being tied to you by birth.
And you, until those slender threads compose
A web that shrouds her daily life of hopes
And fears and fancies, all her life, from yours :
So close you live and yet so far apart ! 100
And must I rend this web, tear up, break down
The sweet and palpitating mystery
That makes her sacred ? You — for you I mean,
Shall I speak, shall I not speak ?
Mil. Speak!
Tres. I will.
Is there a story men could — any man 105
Could tell of you, you would conceal from me ?
I Ml never think there 's falsehood on that lip.
Say '' There is no such story men could tell,"
And I '11 believe you, though I disbelieve
The world — the world of better men than I, no
191 Iwe, A, loTCS, 193 Or, no. A, Oh, no.
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42 9i IBlot fit tift '^Bttitclron [act n.
And women such as I suppose you. Speak !
{Jfier a pause.) Not speak ? Explain then !
Clear it up then ! Move
Some of the miserable weight away
That presses lower than the grave ! Not speak ?
Some of the dead weight, Mildred ! Ah, if I 215
Could bring myself to plainly make their charge
Against you ! Must I, Mildred ? Silent still ?
{Jfter a pause.) Is there a gallant that has night
by night
Admittance to your chamber ?
{After a pause.) Then, his name !
Till now, I only had a thought for you : aio
But now, — his name !
A^l. Thorold, do you devise
Fit expiation for my guilt, if fit
There be ! 'T is nought to say that I '11 endure
And bless you, — that my spirit yearns to purge
Her stains ofF in the fierce renewing fire : %%$
But do not plungo me into other guilt !
Oh, guilt enough ! I cannot tell his name.
Tres. Then judge yourself! How should I
act ? Pronounce !
Alil, Oh, Thorold, you must never tempt me
thus!
To die here in this chamber by that sword as©
Would seem like punishment : so should I glide.
Like an arch-cheat, into extremest bliss !
212 Gear • . . then. A, Clear up all, then.
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sciNii.] a Moe fit t|ie '^tettttlieott 43
*T were easily arranged for me : but you —
What would become of you ?
7r«. And what will now
Become of me ? I '11 hide your shame and mine 235
From every eye; the dead must heave their
hearts
Under the marble of our chapel-floor ;
They cannot rise and blast you. You may wed
Your paramour above our mother's tomb ;
Our mother cannot move from 'neath your foot. 240
We too will somehow wear this one day out :
But with to-morrow hastens here — the Earl !
The youth without suspicion . . . face can
come
From Heaven, and heart from . . . whence
proceed such hearts ?
I have despatched last night at your command 245
A missive bidding him present himself
To-morrow — here — thus much is said; the
rest
Is understood as if 't were written down —
** His suit finds favour in your eyes." Now dic-
tate
This morning's letter that shall countermand 250
Last night's — do dictate that !
Mil. But, Thorold — if
I will receive him as I said ?
243 face. A, faces.
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44 Si Blot fal tift ^fSOM^fm [Act U.
Tres. The Earl ?
MiL I will receive him.
Tres, {starting up). Ho there ! Guendolen !
GuendoUn and Justin enter.
And, Austin, you are welcome, too ! Look
there !
The woman there !
Justin and GuendoUn. How ? Mildred ?
Tres. Mildred once ! 255
Now the receiver night by night, when sleep
Blesses the inmates of her father^s house,
— I say, the soft sly wanton that receives
Her guilt's accomplice 'neath this roof which
holds
You, Guendolen, you, Austin, and has held 260
A thousand Treshams — never one like her !
No lighter of the signal-lamp her quick
Foul breath near quenches in hot eagerness
To mix with breath as foul ! no loosener
O' the lattice, practised in the stealthy tread, 165
The low voice and the noiseless come-and-go !
Not one composer of the bacchant's mien
Into — what you thought Mildred's, in a word !
Know her !
Guen. Oh, Mildred, look to me, at least !
252 The Earl. Italicized in A.
265 0* th* lattice. A, Of the lattice.
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scBNB I] Si iBlot in t^ 'j^cutd^eon 45
Thorold — she's dead, I'd say, but that she
stands 270
Rigid as stone and whiter !
Tr^s. You have heard . . .
Guen. Too much ! You must proceed no
further.
Mil. Yes —
Proceed ! All 's truth. Go from me !
Tres. All is truth.
She tells you ! Well, you know, or ought to
know.
All this I would forgive in her. I 'd con 275
Each precept the harsh world enjoins, I 'd take
Our ancestors' stern verdicts one by one,
I 'd bind myself before them to exact
The prescribed vengeance — and one word of
hers.
The sight of her, the bare least memory 280
Of Mildred, my one sister, my heart's pride
Above all prides, my all in all so long.
Would scatter every trace of my resolve.
What were it silently to waste away
And see her -waste away from this day forth, 285
Two scathed things with leisure to repent.
And grow acquainted with the grave, and die
Tired out if not at peace, and be forgotten ?
It were not so impossible to bear.
283 JFould scatter. A, Had scattered.
289 It were not. A, This were not.
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46 9L JBUm ia tift '^cttttlieon [act ii.
But this — that, fresh from last night's pledge
renewed ^9^
Of love with the successful gallant there.
She calmly bids me help her to entice,
Inveigle an unconscious trusting youth
Who thinks her all that 's chaste and good and
pure,
— Invites me to betray him . . . who so fit 295
As honour's self to cover shame's arch-deed ?
— That she'll receive Lrord Mertoun — (her
own phrase) —
This, who could bear ? Why, you have heard
of thieves,
Stabbers, the earth's disgrace, who yet have
laughed,
'* Talk not to me of torture — I '11 betray 3<»
" No comrade I ' ve pledged faith to ! " — you
have heard
Of wretched women — all but Mildreds — tied
By wild illicit ties to losels vile
You 'd tempt them to forsake ; and they '11 reply
" Gold, friends, repute, I left for him, I find 305
^^ In him, why should I leave him then for gold,
'* Repute or friends ? " — and you have felt your
heart
Respond to such poor outcasts of the world
292 SAe, A, She *11. 295 Invites. A, Invite.
297 Aer own. A, that *s her.
300 to me of torture. A, of tortures to me.
308 suck poor outcasts. A, these poor outcasts.
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scnti 1} Z M0t ia t^ '^ntttlieon 47
As to so many friends ; bad as you please.
You 've felt they were God's men and women
still, 310
So, not to be disowned by you. But she
That stands there, calmly gives her lover up
As means to wed the Earl that she may hide
Their intercourse the surelier : and, for this,
I curse her to her face before you all. S'S
Shame hunt her from the earth ! Then Heaven
do right
To both ! It hears me now — shall judge her
then!
As Mildred faints andfalls^ Tresbam
rushes out.
Just. Stay, Tresham, we '11 accompany you I
Guen. We?
What, and leave Mildred? We? Why, where 's
my place
But by her side, and where yours but by mine ? 320
Mildred — one word ! Only look at me, then !
Just. No, Guendolen ! I echo Thorold's
voice.
She is unworthy to behold • • .
Guen. Us two ?
If you spoke on reflection, and if I
Approved your speech — if you (to put the
thing 3^5
314 surelier. A, safelier. tUsy A, that.
310 where. A, where *8.
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48 a IBlot in t(e '^cutc^eoti [actii.
At lowest) you the soldier, bound to make
The king's cause yours and fight for it, and
throw
Regard to others of its right or wrong,
— If with a death-white woman you can help,
Let alone sister, let alone a Mildred, 33^
You left her — or if I, her cousin, friend
This morning, playfellow but yesterday.
Who said, or thought at least a thousand times,
*' I 'd serve you if I could," should now face
round
And say, '' Ah, that 's only to signify 335
** I 'd serve you while you 're fit to serve your-
self:
^^ So long as fifty eyes await the turn
** Of yours to forestall its yet half-formed wish,
** I '11 proflFer my assistance you *11 not need —
** When every tongue is praising you, I '11 join 34^
" The praisers' chorus — when you 're hemmed
about
*' With lives between you and detraction — lives
*' To be laid down if a rude voice, rash eye,
^^ Rough hand should violate the sacred ring
'' Their worship throws about you, — then in-
deed, 345
" Who *11 stand up for you stout as I ? " If so
We said, and so we did, — not Mildred there
333 Who imd. A, Who've nid. 335 only to. A, to only.
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scsNi I.] jat IBlot in lift '^cutc^eon 49
Would be unworthy to behold us both,
But we should be unworthy, both of us,
To be beheld by — by — your meanest dog, 350
Which, if that sword were broken in your face
Before a crowd, that badge torn ofF your breast.
And you cast out with hooting and contempt,
— Would push his way thro* all the hooters, gain
Your side, go ofF with you and all your shame 355
To the next ditch you choose to die in ! Austin,
Do you love me ? Here *s Austin, Mildred, —
here 's
Your brother says he does not believe half —
No, nor half that — of all he heard ! He says.
Look up and take his hand !
jfust. Look up and take 360
My hand, dear Mildred !
Mil. I — I was so young !
Beside, I loved him, Thorold — and I had
No mother ; God forgot me : so, I fell.
Guen. Mildred !
AiiL Require no further ! Did I dream
That I could palliate what is done ? All 's true. 365
Now, punish me ! A woman takes my hand ?
Let go my hand ! You do not know, I see.
I thought that Thorold told you.
%^l your face. A, your mght.
353 hooting, Af hootings. 356 ^^001;. A, chose.
358 does not believe hdf. Af don*t believe one half.
359 Ae heard. A, he *8 heard.
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50 ja 3l5lot in tift 'J&nttctieon [act n.
Guen. What is this ?
Where start you to ?
Mil. Oh, Austin, loosen me !
You heard the whole of it — your eyes were
worse, 370
In their surprise, than Thorold's ! Oh, unless
You stay to execute his sentence, loose
My hand ! Has Thorold gone, and are you here ?
Guen. Here, Mildred, we two friends of yours
will wait
Your bidding ; be you silent, sleep or muse ! 375
Only, when you shall want your bidding done.
How can we do it if we are not by ?
Here 's Austin waiting patiently your will !
One spirit to command, and one to love
And to believe in it and do its best, 380
Poor as that is, to help it — why, the world
Has been won many a time, its length and
breadth,
By just such a beginning !
Afil. I believe
If once I threw my arms about your neck
And sunk my head upon your breast, that I 385
Should weep again.
Guen. Let go her hand now, Austin !
Wait for me. Pa^e the gallery and think
On the world's seemings and realities.
Until I call you. Austin goes.
373 if^"**- A, left.
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AliL No — I cannot weep.
No more tears from this brain — no sleep — no
tears ! 390
O Guendolen, I love you !
Guen. Yes : and " love "
Is a short word that says so very much !
It says that you confide in me.
ML Confide !
Guen. Your lover's name, then ! I 've so
much to learn,
Ere I can work in your behalf!
MfL My friend, 395
You know I cannot tell his name.
Guen. At least
He is your lover ? and you love him too ?
Mil. Ah, do you ask me that ? — but I am
fallen
So low !
Guen. You love him still, then ?
Mil. My sole prop
Against the guilt that crushes me ! I say, 400
Each night ere I lie down, " I was so young — '
'' I had no mother, and I loved him so ! "
And then God seems indulgent, and I dare
Trust him my soul in sleep.
Guen. How could you let us
E'en talk to you about Lord Mertoun then ? 405
397 is. Italicized in A.
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52 ja IBlot in tje '^cutcl^on [act ii.
AffL There is a cloud around me.
Guen. But you said
You would receive his suit in spite of this ?
Mil. I say there is a cloud . • .
Guen. No cloud to me !
Lord Mertoun and your lover are the same !
Mil. What maddest fancy . . .
Guen. (calling aloud). Austin ! (spare your
pains — 410
When I have got a truth, that truth I keep) —
Mil. By all you love, sweet Guendolen, for-
bear!
Have I confided in you • . •
Guen. Just for this !
Austin ! — Oh, not to guess it at the first !
But I did guess it — that is, I divined, 415
Felt by an instinct how it was : why else
Should I pronounce you free from all that heap
Of sins which had been irredeemable ?
I felt they were not yours — what other way
Than this, not yours ? The secret *s wholly mine ! 420
Mil. If you would see me die before his
face . . •
Guen. I 'd hold my peace ! And if the Earl
returns
To-night ?
Aiil. Ah Heaven, he *s lost !
Guen. I thought so. Austin !
415 did. Italicised in A.
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scm I.] j9 iBlot fat tl^e '^bnttc^eon 53
Enter Austin,
Oh, where have you been hiding ?
Just. Thorold *s gone,
I know not how, across the meadow-land. 4*5
I watched him till I lost him in the skirts
O' the beech-wood.
Guen. Gone ? All thwarts us.
Mil. Thorold too ?
Guen. I have thought. First lead this Mildred
to her room.
Go on the other side ; and then we '11 seek
Your brother : and I '11 tell you, by the way, 43®
The greatest comfort in the world. You said
There was a clue to all. Remember, Sweet,
He said there was a clue ! I hold it. Come !
427 0* the. A, Of the.
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ACT III.
Scene I. — The end of the Tew~tree Avenue
under Mildred* s window. A light seen through
a central red pane.
Enter Tresham through the trees.
Again here ! But I cannot lose myself.
The heath — the orchard — I have traversed
glades
And dells and bosky paths which used to lead
Into green wild-wood depths, bewildering
My boy's adventurous step. And now they tend 5
Hither or soon or late ; the blackest shade
Breaks up, the thronged trunks of the trees ope
wide,
And the dim turret I have fled from, fronts
Again my step ; the very river put
Its arm about me and conducted me 10
To this detested spot. Why then, I '11 shun
Their will no longer : do your will with me !
Oh, bitter ! To have reared a towering scheme
Of happiness, and to behold it razed.
Were nothing : all men hope, and see their hopes 15
Frustrate, and grieve awhile, and hope anew.
But I ... to hope that from a line like ours
No horrid prodigy like this would spring.
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sciNi I] at 3l5lot in t^e '^aiu^tm 55
Were just as though I hoped that from these old
Confederates against the sovereign day, *<>
Children of older and yet older sires,
Whose living coral berries dropped, as now
On me, on many a baron's surcoat once.
On many a beauty's wimple — would proceed
No poison-tree, to thrust, from hell its root, »S
Hither and thither its strange snaky arms.
Why came I here ? What must I do ? (J Ml
strikes.) A bell ?
Midnight! and 't is at midnight . . . Ah, I
catch
— Woods, river, plains, I catch your meaning
now,
And I obey you ! Hist ! This tree will serve. 3«>
He retires behind one of the trees. After
a pausey enter Mertoun cloaked as
before.
Mertoun. Not time ! Beat out thy last volup-
tuous beat
Of hope and fear, my heart ! I thought the clock
r the chapel struck as I was pushing through
The ferns. And so I shall no more see rise
My love-star ! Oh, no matter for the past ! 35
So much the more delicious task to watch
Mildred revive : to pluck out, thorn by thorn,
All traces of the rough forbidden path
My rash love lured her to ! Each day must see
33 I* the chapel. A, In the chapel. 36/0 watcb. A, to tee.
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56 j9ll51ot to tl^e 'j^ctttc^eon [actui.
Some fear of hers efiaced, some hope renewed : 40
Then there will be surprises, unforeseen
Delights in store. I '11 not regret the past.
The light is placed above in the purple pane.
And see, my signal rises, Mildred's star !
I never saw it lovelier than now
It rises for the last time. If it sets, 45
'T is that the re-assuring sun may dawn.
jfs be prepares to ascend the last tree of
the avenue^ Tresham arrests his arm.
Unhand me — peasant, by your grasp ! Here 's
gold.
*T was a mad freak of mine. I said I 'd pluck
A branch from the white-blossomed shrub beneath
The casement there. Take this, and hold your
peace. 5©
Tres, Into the moonlight yonder, come with
me !
Out of the shadow !
Mert. I am armed, fool !
Tres. Yes,
Or no ? You *11 come into the light, or no ?
My hand is on your throat — refuse ! —
Mert. That voice !
Where have I heard ... no — that was mild
and slow. 55
I '11 come with you. They advance.
46 dawn. A, riae. 55 that. Italicized in A.
56 advamce. A, advance to front of ttage.
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Son. I] jat ]iBiot to t^e 'j^ctttc^eon 57
Tr^j. You're armed: that's well. De-
clare
Your name : who are you ?
MerU (Tresham ! — she is lost !)
Tres. Oh, silent ? Do you know, you bear
yourself
Exactly as, in curious dreams I Ve had
How felons, this wild earth is full of, look 60
When they 're detected, still your kind has
looked!
The bravo holds an assured countenance.
The thief is voluble and plausible,
But silently the slave of lust has crouched
When I have fancied it before a man. 65
Your name !
MerU I do conjure Lord Tresham — ay.
Kissing his foot, if so I might prevail —
That he for his own sake forbear to ask
My name ! As heaven 's above, his future weal
Or woe depends upon my silence ! Vain ! 70
I read your white inexorable face.
Know me. Lord Tresham !
He throws off his disguises.
Tres. Mertoun !
{After a pause.) Draw now !
Mert. Hear me
But speak first !
Tres. Not one least word on your life !
56 Declare. A omits.
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58 j9 IBlot to t^ '^nttc^eon [act m.
Be sure that I will strangle in your throat
The least word that informs me how you live 75
And yet seem what you seem ! No doubt *t was
you
Taught Mildred still to keep that face and sin.
We should join hands in frantic sympathy
If you once taught me the unteachable,
Explained how you can live so, and so lie. go
With God's help I retain, despite my sense,
The old belief — a life like yours is still
Impossible. Now draw !
Alert. Not for my sake,
Do I entreat a hearing — for your sake.
And most, for her sake !
Tres, Ha ha, what should I 85
Know of your ways ? A miscreant like yourself.
How must one rouse his ire ? A blow ? — that 's
pride
No doubt, to him ! One spurns him, does one
not?
Or sets the foot upon his mouth, or spits
Into his face ! Come ! Which, or all of these ? 90
Mert. 'Twixt him and me and Mildred, Hea-
ven be judge !
Can I avoid this ? Have your will, my lord !
He draws and, after a few passes, falls.
76 seem what you seem. A, are what you are.
81 retain. A, will keep/ .87 pride. A, great.
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sciNB I.] jat IBlot in tift '^^mttSftm 59
Tres. You are not hurt ?
Mert. You '11 hear me now !
Tres. But rise !
Mert. Ah, Tresham, say I not '' you *11 hear
me now ! "
And what procures a man the right to speak 9s
In his defence before his fellow man,
But — I suppose — the thought that presently
He may have leave to speak before his God
His whole defence ?
Tres. Not hurt ? It cannot be !
You made no eflFort to resist me. Where 100
Did my sword reach you ? Why not have re-
turned
My thrusts ? Hurt where ?
Mert. My lord — ^
Tres. How young he is !
Alert. Lord Tresham,I am very young,and yet
I have entangled other lives with mine.
Do let me speak, and do believe my speech ! 105
That when I die before you presently, —
Tres. Can you stay here till I return with
help?
Mert. Oh, stay by me! When I was less
than boy
I did you grievous wrong and knew it not —
Upon my honour, knew it not ! Once known, no
I could not find what seemed a better way
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6o jSt IBlot in tl^e '^^cutc^eon [actih
To right you than I took : my life — you feel
How less than nothing were the giving you
The life you 've taken ! But I thought my way
The better — only for your sake and hers : 115
And as you have decided otherwise,
Would I had an infinity of lives
To oflFer you ! Now say — instruct me — think !
Can you, from the brief minutes I have left.
Eke out my reparation ? Oh think — think ! 120
For I must wring a partial — dare I say,
Forgiveness from you, ere I die ?
Tres. I do
Forgive you.
Mert. Wait and ponder that great word I
Because, if you forgive me, I shall hope
To speak to you of — Mildred !
Tres. Mertoun, haste 125
And anger have undone us. 'Tis not you
Should tell me for a novelty you *re young.
Thoughtless, unable to recall the past.
Be but your pardon ample as my own !
Mert. Ah, Tresham, that a sword-stroke and
a drop 130
Of blood or two, should bring all this about !
Why, 't was my very fear of you, my love
Of you — (what passion like a boy's for one
113 %oere the giving. A, had been giTing. Ii6 And, A, But.
119 from the. A, from out the. 133 passion. A, pa«ioii *•.
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ScniBl.] a IBlOt fat t||r 'j^Clttt^tl 6l
Like you ?) — that ruined me ! I dreamed of
you —
You, all accomplished, courted everywhere, 135
The scholar and the gentleman. I burned
To knit myself to you : but I was young,
And your surpassing reputation kept me
So far aloof! Oh, wherefore all that love ?
With less of love, my glorious yesterday 140
Of praise and gentlest words and kindest looks.
Had taken place perchance six months ago.
Even now, how happy we had been ! And yet
Fknow the thou^t of this escaped you, Tre-
sham!
Let me look up into your face ; I feel 145
'T is changed above me : yet my eyes arc glazed.
Where? where?
As he endeavours to raise himself^ his eye
catches the lamp.
Ah, Mildred ! What wiU Mildred do ?
Tresham, her life is bound up in the life
That 's bleeding fast away ! I '11 live — must
live, —
There, if you'll only turn me I shall live 150
And save her! Tresham — oh, had you but
heard !
Had you but heard ! What right was yours to
set
141 gtntUst, A, gentle. 151 was jours. A, hare you.
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62 ja HBlot in t|>e '^ratcl^eoii [acthl
The thoughtless foot upon her life and mine.
And then say, as we perish, ^^ Had I thought,
" All had gone otherwise " ? We Ve sinned and
die: 155
Never you sin. Lord Tresham ! for you '11 die,
And God will judge you.
Tres. Yes, be satisfied !
That process is begun.
Mert* And she sits there
Waiting for me ! Now, say you this to her —
You, not another — say, I saw him die 160
As he breathed this, " I love her " — you don't
know
What those three small words mean !^ Say ; lov-
ing her
Lowers me down the bloody slope to death
With memories ... I speedc to her, not you.
Who had no pity, will have no remorse, 165
Perchance intend her . . . Die along with me.
Dear Mildred ! 't is so easy, and you '11 'scape
So much unkindness ! Can I lie at rest.
With rude speech spoken to you, ruder deeds
Done to you ? — heartless men shall have my
heart, 170
And I tied down with grave-clothes and the
worm,
156 Never you sin, A italidcedjroif.
170 siall have. A, to have.
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scDfii] a )l5loc in tlie '^cttccliron 63
Aware, perhaps, of every blow — oh God ! —
Upon those lips — yet of no power to tear
The felon stripe by stripe! Die, Mildred ! Leave
Their honourable world to them ! For God 175
We 're good enough, though the world casts us
out. A wbistU is heard.
Tres. Ho, Gerard !
Enter Gerard^ Austin and Guendolen^ with lights.
No one speak ! You see what 's done.
I cannot bear another voice.
Mert. There 's light —
Light all about me, and I move to it,
Tresham, did I not tell you — did you not 180
Just promise to deliver words of mine
To Mildred?
Tres. I will bear those words to her.
Mert. Now?
Tres. Now. Liftyou the body, and leave me
The head.
As they have half raised Mertoun^ he
turns suddenly.
Mert. I knew they turned me : turn me not
from her !
There ! stay you ! there ! Dies.
Guen. {after a pause^ Austin, remain you
here 185
183 Liftyou the hody. A, Liftyou the body, Gerard.
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64 ja HBlot in t^e 'J&attcftwn [actiii.
With Thorold until Gerard comes with help :
Then lead him to his chamber. I must go
To Mildred.
Tres, Guendolen, I hear each word
You utter. Did you hear him bid me give
His message ? Did you hear my promise ? I, 190
And only I, see Mildred.
Guen. She will die.
Tres. Oh no, she will not die ! I dare not
hope
She'll die. What ground have you to think
she'll die?
Why, Austin *s with you !
Aust. Had we but arrived
Before you fought !
Tres. There was no fight at all. 195
He let me slaughter him — the boy ! I *11 trust
The body there to you and Gerard — thus !
Now bear him on before me.
AusU Whither bear him ?
Tres, Oh, to my chamber ! When we meet
there next,
We shall be friends.
They hear out the body of Mertoun.
Will she die, Guendolen ? 200
Guen. Where are you taking me ?
Tres. He fell just here.
196 the boy ! A, these boys !
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sciNE I.] ja iiBlot in t^e '^cutc^eon 65
Now answer me. Shall you in your whole life
— You who have nought to do with Mertoun*s
fate,
Now you have seen his breast upon the turf,
Shall you e'er walk this way if you can help ? 105
When you and Austin wander arm-in-arm
Through our ancestral grounds, will not a shade
Be ever on the meadow and the waste —
Another kind of shade than when the night
Shuts the woodside with all its whispers up ? 210
But will you ever so forget his breast
As carelessly to cross this bloody turf
Under the black yew avenue ? That *s well !
You turn your head : and I then ? —
Guen. What is done
Is done. My care is for the living. Thorold, 215
Bear up against this burden : more remains
To set the neck to !
Tres. Dear and ancient trees
My fathers planted, and I loved so well !
What have I done that, like some fabled crime
Of yore, lets loose a Fury leading thus 220
Her miserable dance amidst you all ?
Oh, never more for me shall winds intone
With all your tops a vast antiphony,
21 1 his breast. A, this night.
212 carelessly. A, willingly.
214 /. Italicized in A.
220 a Fury leading thus. A, a Fuiy — free to lead.
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66 3iyB\Mintl^*&aaaftm [actih.
Demanding and responding in God's praise !
Hers ye are now, nbt mine ! Farewell — fare-
well ! »»5
Scene II. — AftldreJs chamber.
Mildred alone.
He comes not ! I have heard of those who
seemed
Resourceless in prosperity, — you thought
Sorrow might slay them when she listed ; yet
Did they so gather up their diflfiised strength
At her first menace, that they bade her strike, 5
And stood and laughed her subtlest skill to scorn.
Oh, *t is not so with me ! The first woe fell.
And the rest fall upon it, not on me :
Else should I bear that Henry comes not ? —
fails 10
Just this first night out of so many nights ?
Loving is done with. Were he sitting now,
As so few hours since, on that seat, we 'd love
No more — contrive no thousand happy ways
To hide love from the loveless, any more. 15
I think I might have urged some little point
In my defence, to Thorold ; he was breathless
For the least hint of a defence : but no.
The first shame over, all that would might fall.
No Henry ! Yet I merely sit and think
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sciNEii.] a mot tn t|ie ' j^attcbron 67
The mom's deed o'er and o'er. I must have
crept 20
Out of myself. A Mildred that has lost
Her lover — oh, I dare not look upon
Such woe ! I crouch away from it ! *T is she,
Mildred, will break her heart, not I ! The world
Forsakes me : only Henry *s left me — left ? 15
When I have lost him, for he does not come.
And I sit stupidly . . . Oh Heaven, break up
This worse than anguish, this mad apathy.
By any means or any messenger !
Tres. (without). Mildred !
Mil. Come in ! Heaven hears me !
(^Enter Tresbam.) You ? alone ? 30
Oh, no more cursing !
Tres. Mildred, I must sit.
There — you sit !
Mil. Say it, Thorold — do not look
The curse ! deliver all you come to say !
What must become of me? Oh, speak that
thought
Which makes your brow and cheeks so pale !
Tres. My thought ? 35
Mil. All of it!
Tres. How we waded — years ago —
After those water-lilies, till the plash,
I know not how, surprised us ; and you dared
37 tk6te vfoter-^ilies. A, the water-lilies.
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68 ja IBlot in t^e '^Ctttcfteon [actiii.
Neither advance nor turn back : so, we stood
Laughing and crying until Gerard came — 40
Once safe upon the turf, the loudest too,
For once more reaching the relinquished prize !
How idle thoughts are, some men's, dying men's !
Mildred, —
Mil. You call me kindlier by my name
Than even yesterday : what is in that ? 45
Tres. It weighs so much upon my mind that I
This morning took an office not my own !
I might ... of course, I must be glad or
grieved.
Content or not, at every little thing
That touches you. I may with a wrung heart 50
Even reprove you, Mildred ; I did more :
Will you forgive me ?
Mil. Thorold ? do you mock ?
Or no . . . and yet you bid me . . . say that
word!
Tres. Forgive me, Mildred ! — - are you silent.
Sweet ?
Mil. {starting up). Why does not Henry Mer-
toun come to-night ? 55
Are you, too, silent ?
Dashing his mantle aside ^ and pointing to
bis scabbardy which is empty.
Ah, this speaks for you !
41 Query : comma ^Ster loudest f 56 Are you. A italicized jro».
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sciNEii.] a lIBlot in t^e '^ctttcl^eon 69
You We murdered Henry Mertoun ! Now pro-
ceed !
What is it I must pardon ? This and all ?
Well, I do pardon you — I think I do.
Thorold, how very wretched you must be ! 60
Tres. He bade me tell you . . .
Mil. What I do forbid
Your utterance of ! So much that you may tell
And will not — how you murdered him . . .
but, no !
You '11 tell me that he loved me, never more
Than bleeding out his life there : must I say 65
" Indeed," to that ? Enough ! I pardon you.
Tres. You cannot, Mildred! for the harsh
words, yes :
Of this last deed Another *s judge ; whose doom
I wait in doubt, despondency and fear.
Mil. Oh, true! There's nought for me to
pardon ! True ! 70
You loose my soul of all its cares at once.
Death makes me sure of him forever ! You
Tell me his last words ? He shall tell me them.
And take my answer — not in words, but read-
ing
Himself the heart I had to read him late, 75
Which death . . .
62 that you, A italicized ^o». 71 You loose. A, You loosed.
72 Tou, Italicized in A. 73 He. Italicized in A.
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70 ja HBlot in t^e 'J&ctttcfteon [actiii.
Tres. Death? You are dying too ? Well
Of Gucndolen ! I dared not hope you *d die :
But she was sure of it.
Mil. Tell Gucndolen
I loved her, and tell Austin • • .
Tres. Him you loved :
And me ?
Mil. Ah, Thorold ! Was *t not rashly done 80
To quench that blood, on fire with youth and
hope
And love of me — whom you loved too, and yet
Suffered to sit here waiting his approach
While you were slaying him ? Oh, doubtlessly
You let him speak his poor confused boy's-speech 85
— Do his poor utmost to disarm your wrath
And respite me ! — you let him try to give
The story of our love and ignorance.
And the brief madness and the long despair —
You let him plead all this, because your code 90
Of honour bids you hear before you strike :
But at the end, as he looked up for life
Into your eyes — you struck him down !
Tres. No! No!
Had I but heard him — had I let him speak
Half the truth — less — had I looked long on him 95
I had desisted ! Why, as he lay there,
82 wiomyou lovtd too. A^you loved I think. 88 lovt. A, loTes.
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scBNiiL] Si mu in tift '9^aittifttm ii
The moon on his flushed cheek, I gathered all
The story ere he told it : I saw through
The troubled surface of his crime and yours
A depth of purity immovable. loo
Had I but glanced, where all seemed turbidest
Had gleamed some inlet to the calm beneath ;
I would not glance : my punishment 's at hand.
There, Mildred, is the truth ! and you — say on —
You curse me ?
AliL As I dare approach that Heaven 105
Which has not bade a living thing despair.
Which needs no code to keep its grace from stain.
But bids the vilest worm that turns on it
Desist and be forgiven, — I — forgive not.
But bless you, Thorold, from my soul of souls ! no
Falls on his neck.
There ! Do not think too much upon the past !
The cloud that *s broke was all the same a cloud
While it stood up between my friend and you ;
You hurt him 'neath its shadow : but is that
So past retrieve ? I have his heart, you know ; 115
I may dispose of it : I give it you !
It loves you as mine loves ! Confirm me, Henry !
Dies.
Tres. I wish thee joy. Beloved ! I am glad
In thy full gladness !
Guen. (without). Mildred! Tresham!
{Entering with Justin.) Thorold,
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72 j3 IBlot in t^e 'ji»ctttc^eon [actiii.
I could desist no longer. Ah, she swoons ! 120
That *s well.
Tres, Oh, better far than that !
Guen. She *s dead !
Let me unlock her arms !
Tres. She threw them thus
About my neck, and blessed me, and then died :
You '11 let them stay now, Guendolen !
Just. Leave her
And look to him ! What ails you, Thorold ?
Guen. White 125
As she, and whiter ! Austin ! quick — this side !
Aust. A froth is oozing through his clenched
teeth ;
Both lips, where they 're not bitten through, are
black :
Speak, dearest Thorold !
Tres. Something does weigh down
My neck beside her weight : thanks : I should
fall 130
But for you, Austin, I believe! — there, there,
*T will pass away soon ! — ah, — I had forgotten :
I am dying.
Guen. Thorold — Thorold — why was
this ?
Tres. I said, just as I drank the poison ofF,
The earth would be no longer earth to me, 135
The life out of all life was gone from me.
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sciNiii.] a IBloc in t^e 'l^ottc^eon 73
There are blind ways provided, the foredone
Heart-weary player in this pageant-world
Drops out by, letting the main masque defile
By the conspicuous portal : I am through — 140
Just through !
Guen. Don't leave him, Austin ! Death is
close.
Tres. Already Mildred's face is peacefuUer.
I see you, Austin — feel you : here 's my hand.
Put yours in it — you, Guendolen, yours too !
You 're lord and lady now — you 're Treshams 5
name 145
And fame are yours : you hold our 'scutcheon up.
Austin, no blot on it ! You see how blood
Must wash one blot away : the first blot came
And the first blood came. To the vain world's
eye
All's gules again : no care to the vain world, 150
From whence the red was drawn !
Just. No blot shall come !
Tres. I said that : yet it did come. Should it
come.
Vengeance is God's, not man's. Remember me !
Dies.
Guen, {letting fall the pulseless arm). Ah,
Thorold, we can but — remember you !
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I^ot^ to §i 9£>{ot in t^ '^cnttl^eoit
For the meaning of ungle words see the Glossary,
A Blot in the * Scutcheon was written m 1843 '^ ^^ ^7*} '^
response to an invitation from Macready that Browning should pre-
pare a play for him. The tragedian received and read it with warm
expressions of approval, but he soon found himself, in consequence
of the Mure of other plays, so embarrassed financially that he did
not wish to produce it. He had not the manliness to confess the
truth, and seems to have gone to work in a manner not too honor-
able to provoke Browning to refuse to have it played. It was read
to the players by the head prompter, one Wilmot, '' a broadly comic
personage with a wooden leg and a very red face, whose vulgar sallies
were the delight of all the idle jesters that hung about the theatre. ** '
The result, according to Lady Martin, who as Helen Faucit played
Mildred, was that << the delicate, subtle lines were twisted, per^
verted, and even sometimes made ridiculous.** Macready told
Browning that it ¥ras received with shouts of laughter, and although
he afterwards reread it to the company, he turned his part in it
over to Mr. Phelps. It was Macready*s hope that the poet would
withdraw the play, but as this was not done, the tragedian took
advantage of the temporary illness of Phelps to resume at rehearsals
the part of Tresham himself. He changed the title to The Sisters^
and proposed to cut out the first act and the tragic conclusion, end-
ing it with lines of his own. Browning at once took the poem to
his publishers, had it hastily printed as number five of Bells and
Pomegranates, and put a copy into the hands of each of the actors.
He uien had Phelps restored to the caste as Tresham ; and on
Feb. 1 1 the play was given with marked success — at least of
esteem. It was announced to be played three times a week until
further notice, but the financial breakmg down of Macready dosed
the theatre almost immediately.
* Edmund Gosse s Ptrstnalia (1890), pp. 59--60.
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Mr. Phelps remed the play at Sadter*8 Wells Theatre Nov.
27, 1848, and it had a run of two weeks.
It was brought out in America in 1885 hy Mr. Lawrence Bar-
rett. He omitted the first scene and the last third of the second act.
The London Browning Society gave the play May 2, 1885, at
St. George's Hall, and March 15, 1888, at the Olympic Theatre.
The London Examiner of Feb. 18, 1844, commented : '' In
performance it was successful : a result which it had been hardly
safe to predict of a work of so much rare beauty and of such decisive
originality.** The Athenaum^ Dec. 2, 1848, on the occasion of
the revival, said : <' The play as now acted commanded well-
deserved aj^lause : giving satisfaction to a numerous though not
overflowdng audience.**
When the play was given m 1888, Frederick Wedmore wrote
the notice in the Academy, and in the course of it remarked i ** A
Blot in the * Scutcheon is a great example of true dramatic literature,
as distinguished from theatrical writing.*' The Athenaum, on the
nme occasion, in the review quoted below (67, 30, p. 80), said :
** Though far from bong dramatic, A Blot in the * Scutcheon is
profoundly human and sympathetic.**
Act I, Scene i. Mr. Barrett omitted this scene.
3, 4. poursuivant. A herald or advance messenger.
Browning probably used this and kindred FJirahrt-han words to give
the flavor of a previous century. ' Bravery * in the sense of finery
below, and the aUusions to luwking are examples of the same
thing. Commentators have noted that the poet is not always care-
ful m hdding stricdy to seventeenth-century terms, but this seems
of no possible importance.
5, 41. Their perfumed selves so indispensable.
After praising the naturalness and appropriateness of lines 68-75,
W. L. Courtney comments on 40-41 : '' It reminds one of Ham-
let's waterfiy, Osric, rather, than of Tresham*s retainers.** —
Studies New and Old,
6, 44. cast of Swedish hawks. Cast is technically a
pair ; a leash of greyhounds — fi'om the leash or thong that
holds them — is three hounds.
8, 93. no herald more. It was the busmess of a herald to
regulate all the details of court ceremonial and etiquette.
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7^ 0otte
Act II, Scene ii. Mr. Barrett played scenes 2 and 3 with the
same set, the ** chamber ** bemg represented as adjoining the ''sa-
loon,** and looking out upon the park.
10, 16. he 's the king's. He is in the army.
12-13, 74-80. Her beauty . . , yet. This portrait of a
sister is one of the most beautiful passages m the play.
14, 109. Here . . . Earl. The exposition, as it is tech-
nicaUy called, the explanation to the audience of the situation, it
begun in sc. I by calting attention to the fact that Gerard is myste-
riously ill at ease. Here it is continued by the comment of Ausdn,
who, while attaching to it no sinister meaning, notices the unusual
manner of Mertoun. The strokes are perhaps less broad than those
which playwrights generaUy employ for such a purpose as that of
preparing the audience for the terrible disclosure which comes in
sc. 3.
16,133. Mildred is fourteen. The propriety of making
Mildred so young has been questioned and defended. Dr. Rolfe
and Miss Hersey say : « ThiJB extraordinary statement seems to be
the chief dramatic blemish of the play.** It is evidently a device
on the part of the poet to make the youth of Mildred an excuse
for her dn, and seems as unsuccessful as it is improbable (but see
note on sc. 3, 1. 237). The only thing to do in this case is to
receive the fact as an arbitrary sign that Mildred was so far from a
realization of the nature of what she was doing that she fell without
that moral degradation which would be an essential condition of
deliberate transgression. Certainly this supposition must be accepted
or the whole scheme of the tragedy as Browning conceived it goes
to pieces. This method of impressing the fact upon the audience
may not be regarded as wisely chosen, but of its intention there can
be no doubt.
16, 138-148. In . . . vouchsafes. Guendolen is de-
lightful in every word throughout the scene. This speech in which,
influenced by the remark of Austin .(11. 109-120), she changes
from her position of 1. 43, yet without openly declaring that she
has any fault to find beyond a whimdcal charge, is deliciously fiemi-
nine.
17-18, 162-169. Come, , . . Come. The impetuosity of
Tresham, which has been insisted upon throughout the scene as a
preparation for the climax of act iii, is here made the 6nal note.
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fi0tt8 77
zB, 6. Lord Mertoun's pedi^ee. The important idea
of the honor of the house of Troham is first touched upon by the
retainer, sc. i, 1. 87; in sc. 2 the opening words of Tresham show
the importance he attaches to a name ; at 1. 1 30 he returns to
the fact that Mertoun is of lineage satisfactory to a degree that the
others do not appreciate; and here Guendolen again brings for-
ward the idea of Tresham*s pride of race. Her jesting fiurewell,
11. 65-68, emphasizes the idea again. This is of course all part of
the carrying out of the spirit of the title. How effective it is upon the
audience might posubly be questioned, since on the stage those things
most move the audience which are shown by action. In the
present case, however, it is no matter. The normal human feelings
of a brother who discovers that a dearly loved sister has been be^
trayed are sufficient to account for the emotion of Tresham in the
succeeding acts, and it is to these feelings that any spectator would
be likely to attribute his action.
29, 24. Am I perplexed. Here agam in playfulness
Guendolen touches upon the matter (^ancestry, and claims to have
understood and remembered some minute account of the pedigree
which Tresham has given them, so that she knows whether Wil-
liam the Conqueror, eating from the rocks of the kingdom he has
invaded but not yet C(Miquered, bade Mertoun*s ancestor sit on his
left (the bow-hand^ or granted him the ** great meed ** of the place
of honor on his rignt (the arrow-hand).
21, 67-68. that fair dame . . . dance. Legend thus
accounts for the founding of the Order of the Garter, 1340-13 50.
King Edward III picked up a garter dropped at a ball by the
Countess of Salisbury, placing it on his knee with the words to his
courtiers, Honi soit qui mal y pense (shamed be he who thinks cr^
of it). His words became the motto of the order.
22, 75. soothes up. This is the most Elizabethan touch
in the play.
22, 81. There's a woman like a dew-drop. This
song is one of the most beaudful of Browning* s love lyrics, but it
is here inappropriate to a degree almost shocking. Lawrence Bar-
rett omitted it on the ground that it too much delayed the action,
as it no doubt does. Exquisite as the song is, one who realizes the
situation in which it is sung cannot wonder that on the fiist per-
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78 ^ttft
fbnnance of the play ** the audience was not quite nue whether to
laugh or no.**
26, 150-151. cursed fount . . . spouts blood. Cf.
Julius Casar, ii. 2, 76-78. In thii fpeech, U. 132-154, Brown-
ing proves his power of writing great dramatic poetry. This is
direct, simple enough to be easily followed, yet it is full of variety
and charged throughout with intense emotion.
27, 167-168. pace the chamber. Here, in striking con-
trast to the lines just noted, is a passage which rings false in eveiy
word. Mertoun throughout the scene lacks verisimilitude, and the
next long speech — U. 174-209 — is both artificial and pretty
nearly impossible, one would think, on the stage.
30, 230-231. Then . . . To-morrow nig^ht. Theindst-
ence upon the delay which gives another night for the completion of
the plot, the rather inadequate reason and the doubtful probability
of the loven taking the risk of another clandestine meetmg, add
gready to the artificiality oJF the story. It is possible, however, to
see in Mildred*s shrinking, U. 161-164, a natural and feminine
weakness.
30, 237-238. I . . . mother. Charles Dickens, who read
the play in manuscript, declared: * * I know nothing that is so affect-
ing, nothing in any book I have ever read, as Mildred*s recurrence
to that,. ' I was so young — I had no mother.* **
30, 239-240. There • . . past. In Mr. Barrett*s pro-
duction these two lines were omitted, with a great gam, it is said,
in theatrical efiect.
39, 1 50-1 51. here 's a line . . . me. The stage business
obviously is that Mildred looks over his shoulder at the copy of
Ovid*s Metamorphoses where he points out the line. He shrinks
fi-om her touch.
39-42, 157-232. Mildred . . . bliss. Here the speeches,
although of some length, are admirably appropriate. Tresham's
indirect approach to his question and the fluctuations of his over-
wrought feeling are masterly.
43> 23 5- Become . . . me. The acting version of Mr.
Barrett omitted the rest of the act except 11. 241, 284-287.
Guendolen, Austin, and Mildred pass across the scene with these
few words, and disappear into the house. Tresham enters, solilo-
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^ttfS 79
quizes, and hides among the trees. Mildred's chamber opens by a
bow-window and small balcony on the park. LI. 424—443 are
made the beginning of the third act. It thus escapes the hope-
lessly long speech of Guendolen, U. 353-369, which hinders the
action with no dramatic gain, and leaves out the discovery on her
part of the identity of the lover, a detail which u of much interest
in building up Guendolen*s character, but which u of no essential
importance to the play since nothing comes of it. On the other
hand it lessens the effect of what is the supreme dramatic situation
of the tragedy, Tresham's belief that Mildred will marry Mertoun
while she has another lover. Painful as this u, it is tremendously
ef!ective, and both Tresham and Mildred have in it ample oppor-
tunity for their best art. Helen Faucit was especially effective in
this scene, and it is manifestly for the stage the best in the whole
part. As an example of the sort of adverse criticism which has so
often assailed Browning, may be quoted a part of the article in
which the London Era commented on the revival of the play
in 1888. Of the speech of Guendolen alluded to above it said:
** Any ordinary good-hearted young woman in any ordinary piece
would have expressed her feelings in half-a-dozen straightforward
lines, at least. Not so Mr. Browning's Guendolen. She begins to
reason like a lawyer, and for several mortal minutes poor Mildred
has to lie on the floor to recover herself at leisure. Were these long
passages poetry, they might be endured for the sake of the word-
muac ; but they are of the strange uncouth language Mr. Brown-
ing has invented.** Flippant as this is, it has a sufficient basis in
truth to make it tell.
43, 243-244. face can . . . hearts. Tresham looks in
her face, and seeing its beauty and purity, exclaims that a face may
come from heaven while the heart behind it may be vile enough to
come from hell.
55, 20. Confederates against the sovereign day.
The trees are this in that they keep perpetual shadow under them.
The line has an Elizabethan flavor.
55> 31* voluptuous. The word m the mouth of Mertoun
here has an unpleasant flavor.
Act III, Scene ii. Mr. Barrett had Tresham disappear among
the trees. Mildred delivered her soliloquy from a balcony, and then
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8o i^ett
descended into the pork. Tfan disregarded all previous statements
about Mildred*s chamber, which could be reached only by climbing,
but gave opportunity for the stage business noted below (1. 56).
66, 4. diffused. Browning takes the Elizabethan license of
accenting the word on the fint syllable.
67, 30. Come in 1 The London Athenaum^ commenting
on the performance of the play m 1888, remarks: <<What
lorer dreading a surprise, will sing a love song while clambering at
midnight to his mistresses casement [i, 2.] ? What Hero, again,
with die signal lamp bummg that bids Leander speed to her cham-
ber, will, when she hears a knock at her door, say calmly, < Come
in ! * and welcome composedly the brother whose meeting with
the anticipated visitor is the tlung of all others the one she most
dreads ? These, and other details, though comparative^ unimpor-
tant, prove how little the author has the theatrical insight.**
68, 56. Ah, this speaks for you 1 In Barrett's version
Mildred, walking among the trees, comes upon the hat and cloak
of Mertoun where he flung them down before the duel. As a stage
device this is far more effective than the empty scabbard.
73> 1 37-140- There are . . . portal. "These Unet
are like those of Middleton.** Atktnaum notice quoted at L 30.
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atolombe'js 'hittWv
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Deoicatiom
No One Loves And Honour* Barry Cornwall More Than Robert Browning t
Who Having Nothing Better Than This Play To Give Him In Proof Of It j
Must Say So.
March, 1844.
PERSONS.
CoLOMBi or Ravutbin, Duchess of Julien and Cleves.
Sabyni 1 „ ^
. y Her Attendants-
AOOLF j
GUIBIRT
Gavcilmi
Maufroy
Clugnxt
Valbncb, Advocate of Cleves.
PaiNci BiRTHOLD, Claimant of the Duchy
Mblchior, his Confidant.
Courtiers.
Placi, Tbe Palace of Julieru
Tune, 16 — .
DtdUathn. In the 1849 ed., and thereafter, these lines of verse on the
1844 tiae-page follow a half-title : —
** Ivy and violet, what do ye here,
** With blossom and shoot in the warm spring-weather,
** Hiding the arms of Monchend and Vere f ** Hanmbr.
After A, the Dedication and the Persons are on successive pages.
March, London, 1888-94 ed.
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1844
ACT I.
MORNING.
Scene. — J corridor leading to the Audiena-
chamber.
Gaucelme^ Clugnet^ Maufroy and other Courtiers^
round Guibert^ who is silently reading a paper :
as he drops it at the end —
Guibert. That this should be her birthday;
and the day
We all invested her, twelve months ago,
As the late Duke's true heiress and our liege ;
And that this also must become the day . . .
Oh, miserable lady !
1st Courtier. Ay, indeed ?
2nd Court. Well, Guibert ?
jrd Court. But your news, my friend,
your news !
The sooner, friend, one learns Prince Berthold's
pleasure.
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84 Colombf lIBirt^a? [act i.
The better for us all : how writes the Prince ?
Give me ! I '11 read it for the common good.
Guib. In time, sir, — but till time comes,
pardon me ! lo
Our old Duke just disclosed his child's retreat.
Declared her true succession to his rule.
And died : this birthday was the day, last year.
We convoyed her from Castle Ravestein —
That sleeps out trustfully its extreme age 15
On the Meuse' quiet bank, where she lived queen
Over the water-buds, — to Juliers' court
With joy and bustle. Here again we stand ;
Sir Gaucelme's buckle 's constant to his cap ;
To-day 's much such another sunny day ! ao
Gaucelme. Come, Guibert, this outgrows a
. jest, I think !
You 're hardly such a novice as to need
The lesson, you pretend.
Guib, What lesson, sir ?
That everybody, if he 'd thrive at court.
Should, first and last of all, look to himself ? ^5
Why, no : and therefore with your good ex-
ample,
(—Ho, Master Adolf !) — to myself I'll look.
Enter Adolf.
Guib, The Prince's letter; why, of all men else.
Comes it to me ?
16 where she lived queen. A, where queen she Ihred.
21 outgrows. A, outgoes.
Digitized by VjOOQIC
scBNB I.] Colombo lIBIrdiiu? 85
Adolf. By virtue of your place,
Sir Guibert ! 'T was the Prince's express charge, 30
His envoy told us, that the missive there
Should only reach our lady by the hand
Of whosoever held your place.
Guih, Enough !
Adolf retires.
Then, gentles, who '11 accept a certain poor
Indifferently honourable place, 35
My friends, I make no doubt, have gnashed their
teeth
At leisure minutes these half-dozen years.
To find me never in the mood to quit ?
Who asks may have it, with my blessing, and —
This to present our lady. Who '11 accept ? 40
You, — you, — you? There it lies, and may,
for me !
Maufroy (a youth j picking up the paper ^ reads
aloud). "Prince Berthold, proved by
titles following
" Undoubted Lord of Juliers, comes this day
" To claim his own, with license from the Pope,
*'The Emperor, the Kings of Spain and
France" ... 45
Gauc. Sufficient " titles following," I judge !
Don't read another! Well, — '*to claim his
own ^' ?
40 This. Italicized in A.
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86 Colombr* JBittfttep [act i.
Mauf. " — And take possession of the Duchy
held
" Since twelve months, to the true heir's preju-
dice,
*' By " . . . Colombe, Juliers' mistress, so she
thinks, so
And Ravestein's mere lady, as we find.
Who wants the place and paper ? Guibert *s
right.
I hope to climb a little in the world, —
I 'd push my fortunes, — but, no more than he,
Could tell her on this happy day of days, 55
That, save the nosegay in her hand perhaps.
There 's nothing left to call her own. Sir Clug-
net.
You famish for promotion ; what say you ?
Clugnet (an old man). To give this letter were
a sort, I take it.
Of service : services ask recompense : 60
What kind of corner may be Ravestein ?
Guih. The castle ? Oh, you 'd share her for-
tunes ? Good !
Three walls stand upright, full as good as four,
With no such bad remainder of a roof.
Clugn, Oh, — but the town ?
Guib. Five houses, fifteen huts ; 65
A church whereto was once a spire, 't is judged ;
And half a dyke, except in time of thaw.
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soNi I] Colatifbe'0 lIBIrdiiui; 87
Clugn. Still, there 's some revenue ?
Guib, Else Heaven forfend !
You hang a beacon out, should fogs increase ;
So, when the Autumn floats of pine-wood steer 70
Safe *mid the white confusion, thanks to you,
Their grateful raftsman flings a guilder in ; —
That 's if he mean to pass your way next time.
Clugn. If not?
Guib. Hang guilders, then ! He blesses
you.
Clugn. What man do you suppose me ? Keep
your paper ! 75
And, let me say, it shows no handsome spirit
To dally with misfortune : keep your place !
Gauc. Some one must tell her.
Guib, Some one may : you may !
Gauc. Sir Guibert, 't is no trifle turns me
sick
Of court-hypocrisy at years like mine, 80
But this goes near it. Where 's there news at
all?
Who '11 have the face, for instance, to aflSirm
He never heard, e'en while we crowned the girl.
That Juliers' tenure was by Salic law ;
That one, confessed her father's cousin's child, 85
And, she away, indisputable heir.
Against our choice protesting and the Duke's,
73 mean. A, means. 85 That one. A, And one.
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88 Colatifbe'0 IBIrdiiui? [act i.
Claimed Juliers ? — nor, as he preferred his
claim,
That first this, then another potentate.
Inclined to its allowance ? — I or you, 90
Or any one except the lady's self?
Oh, it had been the direst cruelty
To break the business to her ! Things might
change :
At all events, we M see next masque at end.
Next mummery over first : and so the edge 95
Was taken off sharp tidings as they came.
Till here 's the Prince upon us, and there 's she
— Wreathing her hair, a song between her lips,
With just the faintest notion possible
That some such claimant earns a livelihood 100
About the world, by feigning grievances —
Few pay the story of, but grudge its price,
And fewer listen to, a second time.
Your method proves a failure ; now try mine !
And, since this must be carried . . .
Guih. (snatching the paper from him). By your
leave ! 105
Your zeal transports you ! 'T will not serve the
Prince
So much as you expect, this course you M take.
If she leaves quietly her palace, — well ;
But if she died upon its threshold, — no :
He *d have the trouble of removing her. no
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Scene I.] ColOmbf lIBitt^lU? 89
Come, gentles, we *re all — what the devil
knows !
You, Gaucelme, won't lose character, beside :
You broke your father's heart superiorly
To gather his succession — never blush !
You *re from my province, and, be comforted, "5
They tell of it with wonder to this day.
You can afFord to let your talent sleep.
We '11 take the very worst supposed, as true :
There, the old Duke knew, when he hid his
child
Among the river-flowers at Ravestein, 120
With whom the right lay ! Call the Prince our
Duke!
There, she 's no Duchess, she 's no anything
More than a young maid with the bluest eyes :
And now, sirs, we '11 not break this young maid's
heart
Coolly as Gaucelme could and would ! No
haste ! 125
His talent 's full-blown, ours but in the bud :
We'll not advance to his perfection yet —
Will we. Sir Maufroy ? See, I 've ruined Mau-
froy
Forever as a courtier !
118-120 Not in first edidoii.
121 Call the Prince our Duke. A, Let the Prince be Duke.
125 Coolly as Gaucelme, A, So coolly ai he.
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90 Colombe'0 JBirtlitep [act i.
Gauc. Here 's a coil !
And, count us, will you ? Count its residue, 130
This boasted convoy, this day last year's crowd !
A birthday, too, a gratulation day !
I 'm dumb : bid that keep silence !
Maufroy and others. Eh, Sir Guibert ?
He's right: that does say something: that's
bare truth.
Ten — twelve, I make : a perilous dropping ofF! 135
Guib. Pooh — is it audience hour ? The ves-
tibule
Swarms too, I wager, with the common sort
That want our privilege of entry here.
Gauc. Adolf! {Re-enter Adolf .) Who's out-
side ?
Guib. Oh, your looks suffice !
Nobody waiting ?
Mauf. {looking through the door-folds). Scarce
our number !
Guib. 'Sdeath ! 140
Nothing to beg for, to complain about ?
It can't be ! Ill news spreads, but not so fast
As thus to frighten all the world !
Gau(;. The world
Lives out of doors, sir — not with you and me
By presence-chamber porches, state-room stairs, 145
Wherever warmth 's perpetual : outside 's free
133 that. Italicized m A.
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Scene i.] ColOtllbf UBittl^a? 9'
To every wind from every compass-point,
And who may get nipped needs be weather-wise.
The Prince comes and the lady's People go ;
The snow-goose settles down, the swallows
flee — 150
Why should they wait for winter-time ? 'T is
instinct.
Don't you feel somewhat chilly ?
Guib. That 's their craft ?
And last year's crowders-round and criers-forth
That strewed the garlands, overarched the roads,
Lighted the bonfires, sang the loyal songs ! 155
Well 't is my comfort, you could never call me
The People's Friend ! The People keep their
word —
I keep my place : don't doubt I '11 entertain
The People when the Prince comes, and the
People
Are talked of ! Then, their speeches — no one
tongue 160
Found respite, not a pen had holiday
— For they wrote, too, as well as spoke, these
knaves !
Now see : we tax and tithe them, pill and poll.
They wince and fret enough, but pay they must
— We manage that, — so, pay with a good grace 165
They might as well, it costs so little more.
149 and the lady^s People go. A, And the people go ; *ti8 in-
stinct. 151 Not m first edition. 155 IJghted, A, Lit up.
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92 Colombe'tf Wixtlfim t^" ^
But when we 've done with taxes, meet folk next
Outside the toll-booth and the rating-place,
In public — there they have us if they will.
We 're at their mercy after that, you see ! 170
For one tax not ten devils could extort —
Over and above necessity, a grace ;
This prompt disbosoming of love, to wit —
Their vine-leaf wrappage of our tribute penny.
And crowning attestation, all works well. 175
Yet this precisely do they thrust on us !
These cappings quick, these crook-and-cringings
low.
Hand to the heart, and forehead to the knee.
With grin that shuts the eyes and opes the
mouth —
So tender they their love ; and, tender made, x8o
Go home to curse us, the first doit we ask.
As if their souls were any longer theirs f
As if they had not given ample warrant
To who should clap a collar on their neck.
Rings in their nose, a goad to either flank, 185
And take them for the brute they boast them-
selves !
Stay — there 's a bustle at the outer door —
And somebody entreating . . . that 's my name !
Adolf, — I heard my name !
175 crowning. Even the edidon of 1888 has crowding, but as
Browning wrote to Prof. Rolfe that this was a « vile misprint,** the
proper reading is restored in the text. 181 us, we. A, you, you.
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sciNi I] colottdiftf JBiai^ime 93
Jdolf. 'T was probably
The suitor.
Guib. Oh, there is one ?
Jdolf. With a suit 190
He 'd fain enforce in person.
Guib. The good heart
— And the great fool ! Just ope the mid-door's
fold!
Is that a lappet of his cloak, I see ?
jfdo^. If it bear plenteous sign of travel ... ay.
The very cloak my comrades tore !
Guib. Why tore ? 195
Jdolf. He seeks the Duchess' presence in that
trim:
Since daybreak, was he posted hereabouts
Lest he should miss the moment.
Guib. Where 's he now?
jfdolf. Gone for a minute possibly, not more :
They have ado enough to thrust him back. 20Q
Guib, Ay — but my name, I caught ?
jfdolf. Oh, sir — he said
— What was it ? — You had known him for-
merly.
And, he believed, would help him did you guess
He waited now ; you promised him as much :
The old plea ! 'Faith, he 's back, — renews the
charge ! 205
194 ttgn. A, signs. 195 comradet. A, comrade.
202 fFhat was kf Ay What said he ?
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94 €ohmAf6 Wittl^twe [act i.
{Speaking at the door,) So long as the man par-
leys, peace outside —
Nor be too ready with your halberts, there !
Gauc, My horse bespattered, as he blocked
the path
A thin sour man, not unlike somebody.
Jdolf, He holds a paper in his breast, whereon a lO'
He glances when his cheeks flush and his brow
At each repulse —
Gauc. I noticed he 'd a brow.
Adolf, So glancing, he grows calmer, leans
awhile
Over the balustrade, adjusts his dress.
And presently turns round, quiet again, 215
With some new pretext for admittance. —
Back!
{To Guibert,) — Sir, he has seen you 1 Now cross
halberts ! Ha —
Pascal is prostrate — there lies Fabian too !
No passage ! Whither would the madman press ?
Close the doors quick on me !
Guib, Too late ! He 's here.aao
Enter ^ hastily and with discomposed dress ^ Valence,
Valence, Sir Guibert, will you help me ? — me,
that come
Charged by your townsmen, all who starve at
Cleves,
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scsNB I.] Colottibe'0 Wixt^n 95
To represent their heights and depths of woe
Before our Duchess and obtain relief?
Such errands barricade such doors, it seems : ^^s
But not a common hindrance drives me back
On all the sad yet hopeful faces, lit
With hope for the first time, which sent me
forth.
Cleves, speak for me ! Cleves' men and women,
speak !
Who followed me — your strongest — many a
mile 230
That I might go the fresher from their ranks,
— Who sit — your weakest — by the city gates.
To take toe fuller of what news I bring
As I return — for I must needs return !
— Can I ? 'T were hard, no listener for their
wrongs, 235
To turn them back upon the old despair —
Harder, Sir Guibert, than imploring thus —
So, I do — any way you please — implore !
If you . . . but how should you remember
Cleves ?
Yet they of Cleves remember you so well ! 240
Ay, comment on each trait of you they keep.
Your words and deeds caught up at second
hand, —
Proud, I believe, at bottom of their hearts,
O' the very levity and recklessness
244 0* the. A, Of the.
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96 Colombe'0 y&iaHfime [^<^ <
Which only prove that you forget their wrongs. *45
Cleves, the grand town, whose men and women
starve,
Is Cleves forgotten ? Then, remember me !
You promised me that you would help me once.
For other purpose : will you keep your word ?
Guib. And who may you be, friend ?
Fal. Valence of Cleves. as©
Guib. Valence of . . ..not the advocate of
Cleves,
I owed my whole estate to, three years back ?
Ay, well may you keep silence ! Why, my lords.
You 've heard, I 'm sure, how, Pentecost three
years,
I was so nearly ousted of my land ^55
By some knave's-pretext — (eh ? when you re-
fused me
Your ugly daughter, Clugnet!) — and you've
heard
How I recovered it by miracle
— (When I refused her!) Here's the very
friend,
— Valence of Cleves, all parties have to thank ! *6o
Nay, Valence, this procedure 's vile in you !
I 'm no more grateful than a courtier should.
But politic am I — I bear a brain.
Can cast about a little, might require
245 that you. A, youndf.
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Scene I.] Colotitbe'tf UBirt^loc 97
Your services a second time. I tried 265
To tempt you with advancement here to court
— '' No ! " — well, for curiosity at least
To view our life here — " No ! " — our Duch-
ess, then, —
A pretty woman 's worth some pains to see.
Nor is she spoiled, I take it, if a crown 270
Complete the forehead pale and tresses pure •
VaL Our city trusted me its miseries.
And I am come.
Guib. So much for taste ! But '' come," —
So may you be, for anything I know.
To beg the Pope's cross, or Sir Clugnet's daugh-
ter, 275
And with an equal chance you get all three.
If it was ever worth your while to come.
Was not the proper way worth finding too ?
VaL Straight to the palace-portal, sir, I came —
Guib. — And said ? —
VaL — That I had brought the miseries 280
Of a whole city to relieve.
Guib. — Which saying
Won your admittance ? You saw me, indeed.
And here, no doubt, you stand : as certainly.
My intervention, I shall not dispute.
Procures you audience; which, if I procure, — 285
271 Complete. A, Completes.
285 whichy if J procure. A, but, if lo I do.
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98 Colombe'0 UBirtl^Dai? [act i.
That paper's closely written — by Saint Paul,
Here flock the Wrongs, follow the Remedies,
Chapter and verse, One, Two, A, B and C !
Perhaps you 'd enter, make a reverence.
And launch these " miseries " from first to last ? 290
VaL How should they let me pause or turn
aside ?
Gauc, (to Faience). My worthy sir, one ques-
tion ! You 've come straight
From Cleves, you tell us ; heard you any talk
At Cleves about our lady ?
FaL Much.
Gauc. And what ?
FaL Her wish was to redress all wrongs she
knew. a95
Gauc. That, you believed ?
FaL You see me, sir !
Gauc. — Nor stopped
Upon the road from Cleves to Juliers here.
For any — rumours you might find afloat ?
Fal. I had my townsmen's wrongs to busy me.
Gauc. This is the lady's birthday, do you
know ? 300
— Her day of pleasure ?
Fal. — That the great, I know.
For pleasure born, should still be on the watch
To exclude pleasure when a duty offers :
Even as, for duty born, the lowly too
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soNi I] Colombe'0 WM^ims 99
May ever .snatch a pleasure if in reach : 3^5
Both will have plenty of their birthright, sir !
Gauc. (aside to Guibert). Sir Guibert, here 's
your man ! No scruples now —
You '11 never find his like ! Time presses hard.
I 've seen your drift and Adolf's too, this while,
But you can't keep the hour of audience back 3>o
Much longer, and at noon the Prince arrives.
{Pointing to Valence.) Entrust him with it —
fool no chance away !
Guib. Him?
Gauc. — With the missive ! What 's the
man to her ?
Guib. No bad thought ! Yet, 't is yours, who
ever played
The tempting serpent : else 't were no bad
thought ! 315
I should — and do — mistrust it for your sake.
Or else . . .
Enter an Official who communicates with Adolf.
Adolf. The Duchess will receive the court.
Guib. Give us a moment, Adolf! Valence,
friend,
I '11 help you. We of the service, you 're to
mark.
Have special entry, while the herd ... the folk 3*0
312 him. Italicized in A. 310 folk. A, folks.
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100 Colombe'0 Witt^iwi [act i.
Outside, gets access through our help alone ;
— Well, it is so, was so, and I suppose
So ever will be : your natural lot is, therefore.
To wait your turn and opportunity.
And probably miss both. Now, I engage 325
To set you, here and in a minute's space.
Before the lady, with full leave to plead
Chapter and verse, and A, and B, and C,
To heart's content.
FaL I grieve that I must ask, —
This being, yourself admit, the custom here, — 330
To what the price of such a favour mounts ?
Guib. Just so ! You 're not without a cour-
tier's tact.
Little at court, as your quick instinct prompts.
Do such as we without a recompense.
Fal. Yours is ? —
Guib, A trifle : here 's a document 335
'T is some one's duty to present her Grace —
I say, not mine — these say, not theirs — such
points
Have weight at court. Will you relieve us all
And take it ? Just say, " I am bidden lay
" This paper at the Duchess' feet ! "
FaL No more ? 340
I thank you, sir !
311 gets. A, get. 330-331 This being , . . mounts, A reads:
Prom this yourself admit the custom here,
What will the price of such a fkrom be t
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s«Ni I.] Colombe'0 HBfat^ai? loi
Adolf. Her Grace receives the court.
Guth, (aside). Now, sursum corda^ quoth the
mass-priest ! Do —
Whoever 's my kind saint, do let alone
These pushings to and fro, and pullings back ;
Peaceably let me hang o' the devil's arm 345
The downward path, if you can't pluck me off
Completely ! Let me live quite his, or yours !
The Courtiers begin to range themselves j
and move toward the door.
After me. Valence ! So, our famous Cleves
Lacks bread ? Yet don't we gallants buy their
lace?
And dear enough — it beggars me, I know, 350
To keep my very gloves fringed properly.
This, Valence, is our Great State Hall you cross ;
Yon gray urn 's veritable marcasite,
The Pope's gift : and those salvers testify
The Emperor. Presently you '11 set your foot 355
. . . But you don't speak, friend Valence !
Fal. I shall speak.
Gauc. {aside to Guibert). Guibert — it were
no such ungraceful thing
If you and I, at first, seemed horror-struck
With the bad news. Look here, what you shall
do!
Suppose you, first, clap hand to sword and cry z^o
"Yield strangers our allegiance? First I'll perish
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102 Colondie'tf IKrdiDae [act i.
'* Beside your Grace 1 " — and so give me the
cue
To . . .
Guib, — Clap your hand to note-book and
jot down
That to regale the Prince with ? I conceive.
{To Faience), Do, Valence, speak, or I shall half
suspect 3^5
You 're plotting to supplant us, me the first,
r the lady's favour ! Is 't the grand harangue
You mean to make, that thus engrosses you ?
— Which of her virtues you '11 apostrophize ?
Or is 't the fashion you aspire to start, 370
Of that close-curled, not unbecoming hair ?
Or what else ponder you ?
FaL My townsmen's wrongs.
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ACT II.
NOON.
Scene. — The Presena-chamber.
The Duchess and Sabyne.
The Duchess. Announce that I am ready for
the fcourt !
Sabyne. 'T is scarcely audience-hour, I think ;
your Grace
May best consult your own relief, no doubt,
And shun the crowd : but few can have arrived.
Duch. Let those not yet arrived, then, keep
away!
'T was me, this day last year at Ravestein,
You hurried. It has been full time, beside.
This half-hour. Do you hesitate ?
Sab. Forgive me !
Duch. Stay, Sabyne ; let me hasten to make
sure
Of one true thanker : here with you begins
My audience, claim you first its privilege !
It is my birth's event they celebrate :
You need not wish me more such happy days.
But — ask some favour ! Have you none to ask ?
4 but few can have arrived. A, but if there 's few arrived.
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104 Colombe'« H&M^im [^"^ "•
Has Adolf none, then ? this was far from least 15
Of much I waited for impatiently,
Assure yourself! It seemed so natural
Your gift, beside this bunch of river-bells,
Should be the power and leave of doing good
To you, and greater pleasure to myself. 20
You ask my leave to-day to marry Adolf?
The rest is my concern.
Sab. Your Grace* is ever
Our lady of dear Ravestein, — but, for Adolf . . .
Duch. '' But " ? You have not, sure, changed
in your regard
And purpose towards him ?
Sab. We change ?
Duch. Well then? Well? 25
Sab. How could we two be happy, and, most
like.
Leave Juliers, when — when . . . but 't is au-
dience-time !
Duch. * When, if you left me, I were left
indeed ! "
Would you subjoin that ? — Bid the court
approach ! —
Why should we play thus with each other,
Sabyne ? 30
17 It secmtd so natural. A, So natural it leemcd.
19 of doing good. A, to do you good.
20 Not in fint edition.
25 ff^e. Italicized in A.
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scEN. I] Coloiiibe'0 IBittl^Dai? 105
Do I not know, if courtiers prove remiss,
If friends detain me, and get blame for it.
There is a cause ? Of last year's fervid throng
Scarce one half comes now.
Sab. (aside). One half? No, alas !
Duch. So can the mere suspicion of a cloud 35
Over my fortunes, strike each loyal heart.
They 've heard of this Prince Berthold ; and,
forsooth.
Some foolish arrogant pretence he makes.
May grow more foolish and more arrogant.
They please to apprehend ! I thank their love. 40
Admit them !
Sab. {aside). How much has she really learned ?
Duch. Surely, whoever 's absent, Tristan
waits ?
— Or at least Romuald, whom my father raised
From nothing — come, he 's faithful to me, come!
(Sabyne, I should but be the prouder — yes, 45
The fitter to comport myself aright)
Not Romuald ? Xavier — what said he to that ?
For Xavier hates a parasite, I know !
Sabyne goes out,
Duch. Well, sunshine 's everywhere, and
summer too.
Next year 't is the old place again, perhaps — 50
38 Some foolish. A, Each foolish. 39 May , . . arrogant.
A, More foolish and more arrogant may grow.
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1 06 Colondir'tf IBitt^lovs [act n.
The water-breeze again, the birds again.
— It cannot be ! It is too late to be !
What part had I, or choice in all of it ?
Hither they brought me; I had not to think
Nor care, concern myself with doing good 55
Or ill, my task was just — to live, — to live.
And, answering ends there was no need explain.
To render Juliers happy — so they said.
All could not have been falsehood : some was
love.
And wonder and obedience. I did all 60
They looked for : why then cease to do it now ?
Yet this is to be calmly set aside.
And — ere next birthday's dawn, for aught I
know,
Things change, a claimant may arrive, and I . . .
It cannot nor it shall not be ! His right ? 65
Well then, he has the right, and I have not,
— But who bade all of you surround my life
And close its growth up with your ducal crown
Which, plucked off rudely, leaves me perishing?
I could have been like one of you, — loved,
hoped, 70
Feared, lived, and died like one of you — but
you
Would take that life away and give me this.
And I will keep this ! I will face you ! Come !
66 and I have not. A, I lunre it not.
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sciNi I.] Colombrtf ilBirtftttai? 107
Enter the Courtiers and Valence.
The Courtiers. Many such happy mornings
to your Grace !
Duch. {asidey as they pay their devoir). The
same words, the same faces, — the same
love ! 75
I have been ovcrfearful. These arc few j
But these, at least, stand firmly : these are mine.
As many come as may ; and if no more,
'T is that these few suffice — they do suffice !
What succour may not next year bring me?
Plainly, 80
I feared too soon. (To the Courtiers.) I thank
you, sirs : all thanks !
Valence (aside^ as the Duchess passes from one
group to another^ conversing). 'T is she —
the vision this day last year brought.
When, for a golden moment at our Clcves,
She tarried in her progress hither. Cleves
Chose me to speak its welcome, and I spoke 85
— Not that she could have noted the recluse
— Ungainly, old before his time — who gazed.
Well, Heaven's gifts are not wasted, and that
gaze
Kept, and shall keep me to the end, her own !
She was above it — but so would not sink 90
My gaze to earth ! The People caught it, hers —
Thenceforward, mine ; but thus entirely mine,
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io8 Colombe'tf UBixtlfim [act n.
Who shall affirm, had she not raised my soul
Ere she retired and left me — them ? She
turns —
There 's all her wondrous face at once ! The
ground 95
Reels and . . . (suddenly occupying himself with
bis paper).
These wrongs of theirs I have to plead!
Duch, (to the Courtiers). Nay, compliment
enough ! and kindness' self
Should pause before it wish me more such years.
'T was fortunate that thus, ere youth escaped,
I tasted life's pure pleasure — one such, pure, loo
Is worth a thousand, mixed -^ and youth 's for
pleasure :
Mine is received; let my age pay for it,
Gaucelme. So, pay, and pleasure paid for,
thinks your Grace,
Should never go together ?
Guibert. How, Sir Gaucelme ?
Hurry one's feast down unenjoyingly 105
At the snatched breathing-intervals of work ?
As good you saved it till the dull day's-end
When, stiff and sleepy, appetite is gone.
Eat iirst, then work upon the strength of food !
Duch. True : you enable me to risk my future, no
By giving me a past beyond recall.
109 Not in first edition.
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scEKs I.] Colombr'0 HBM^Oai; 109
I lived, a girl, one happy leisure year :
Let me endeavour to be the Duchess now !
And so, — what news. Sir Guibert, spoke you
of?
As they advance a little^ and Guibert
speaks —
— That gentleman ? —
VaL {aside). I feel her eyes on me. 115
Guib. (to Faience). The Duchess, sir, inclines
to hear your suit.
Advance ! He is from Cleves.
FaL (coming forward. Aside). Their wrongs
— their wrongs !
Duch. And you, sir, are from Cleves ? How
fresh in mind.
The hour or two I passed at queenly Cleves !
She entertained me bravely, but the best lao
Of her good pageant seemed its standers-by
With insuppressive joy on every face !
What says my ancient famous happy Cleves ?
VaL Take the truth, lady — you are made
for truth !
So think my friends : nor do they less deserve 125
The having you to take it, you shall think.
When you know all — nay, when you only
know
1 12 / Ifved . . . year. A, A girl one happy Idsure year I lived.
113 to ht the Duchess. A, to be Duchess. 120 me. A, us.
115 nor do they less deserve. A, nor less do they desenrc.
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1 1 o Colombr'0 IBirtfttta? [act n.
How, on that day you recollect at Cleves,
When the poor acquiescing multitude
Who thrust themselves with all their woes apart 130
Into unnoticed corners, that the few.
Their means sufficed to muster trappings for.
Might fill the foreground, occupy your sight
With joyous faces fit to bear away
And boast of as a sample of all Cleves 135
— How, when to daylight these crept out once
more.
Clutching, unconscious, each his emipty rags
Whence the scant coin, which had not half
bought bread.
That morn he shook forth, counted piece by
piece,
And, well-advisedly, on perfumes spent them 140
To burn, or flowers to strew, before your path
— How, when the golden flood of music and
bliss
Ebbed, as their moon retreated, and again
Left the sharp black-point rocks of misery bare
— Then I, their friend, had only to suggest 14s
*^ Saw she the horror as she saw the pomp ! "
And as one man they cried *' He speaks the
truth:
"Show her the horror! Take from our own
mouths
137 unconscious. A, inconadous.
140 on perfumes spent them. A, on perfumes spent.
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scxNE I.] Colombe'0 UBittl^ins 1 1 1
" Our wrongs and show them, she will see
them too ! "
This they cried, lady ! I have brought the
wrongs. 150
Duch. Wrongs ? Cleves has wrongs — ap-
parent now and thus ?
I thank you. In that paper ? Give it me !
Vol. (There, Cleves !) In this ! (What did
I promise, Cleves ?)
Our weavers, clothiers, spinners are reduced
Since . . . Oh, I crave your pardon ! I forget 155
I buy the privilege of this approach.
And promptly would discharge my debt. I lay
This paper humbly at the Duchess* feet.
Presenting Gutter fs paper.
Guib. Stay ! for the present . . .
Duch, Stay, sir ? I take aught
That teaches me their wrongs with greater pride 1^0
Than this your ducal circlet. Thank you, sir !
The Duchess reads hastily ; then^ turn-
ing to the Courtiers —
What have I done to you ? Your deed or mine
Was it, this crowning me ? I gave myself
No more a title to your homage, no.
Than church-flowers, born this season, wrote
the words 165
151 apparent nonv and thus f A, which now and thus I know ?
158 This. Italicized m A.
165 %urote the words. A, gave the words.
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112 Colombr« 5IBi)rtl^tta? [act ii.
In the saint's-book that sanctified them first.
For such a flower, you plucked me ; well, you
erred —
Well, 't was a weed ; remove the eye-sore quick !
But should you not remember.it has lain
Steeped in the candles' glory, palely shrined, 170'
Nearer God's Mother than most earthly things ?
— That if 't be faded 'tis with prayer's sole
breath —
That the one day it boasted was God's day ?
Still, I do thank you ! Had you used respect,
Here might I dwindle to my last white leaf, 175
Here lose life's latest freshness, which even yet
May yield some wandering insect rest and food :
So, fling me forth, and — all is best for all !
{After a pause.) Prince Berthold, who art
Juliers' Duke it seems —
The King's choice, and the Emperor's, and the
Pope's — 180
Be mine, too ! Take this People ! Tell not me
Of rescripts, precedents, authorities,
— But take them, from a heart that yearns to
give !
Find out their love, — I could not; find their
fear, —
I would not; find their like, — I never shall, 185
174 Still, A, But. 175 my last. A, the last.
1 76 Here lose . . . yet. A, Till loemg the poor relic which even yet.
180 The first edition transposes King's and Papers.
185 never shall. A, never will.
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sc«N. I.] Colombe'fi^ ISictlljiimii 1 1 3
Among the flowers ! Taking off her coronet.
Colombe of Ravestein
Thanks God she is no longer Duchess here !
VaL {advancing to Guibert). Sir Guibert,
knight, they call you — this of mine
Is the first step I ever set at court.
You dared make me your instrument, I find ; 190
For that, so sure as you and I are men.
We reckon to the utmost presently :
But as you are a courtier and I none.
Your knowledge may instruct me. I, already,
Have too far outraged, by my ignorance 19s
Of courtier-ways, this lady, to proceed
A second step and risk addressing her :
— I am degraded — you let me address !
Out of her presence, all is plain enough
What I shall do — but in her presence, too, 200
Surely there 's something proper to be done.
{To the others,) You, gentles, tell me if I guess
aright —
May I not strike this man to earth ?
The Courtiers {as Guibert springs forward^ with-
holding him). Let go !
— The clothiers' spokesman, Guibert ? Grace
a churl ?
Duch, {to Valence). Oh, be acquainted with
your party, sir ! 205
He 's of the oldest lineage Juliers boasts ;
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1 14 Colombe'tf lIBittl^Oa? [act ii.
A lion crests him for a cognizance ;
" Scorning to waver " — that 's his 'scutcheon's
word;
His office with the new Duke — probably
The same in honour as with me j or more, aio
By so much as this gallant turn deserves.
He 's now, I dare say, of a thousand times
The rank and influence that remain with her
Whose part you take ! So, lest for taking it
You suffer . . .
VaL I may strike him then to earth i^ls
Guib. {falling on his knee). Great and dear
lady, pardon me ! Hear once !
Believe me and be merciful — be just !
I could not bring myself to give that paper
Without a keener pang than I dared meet
— And so felt Clugnet here, and Maufroy here ^^o
— No one dared meet it. Protestation's cheap, —
But, if to die for you did any good,
{To Gaucelme.) Would not I die, sir? Say your
worst of me !
But it does no good, that 's the mournful truth.
And since the hint of a resistance, even, 225
Would just precipitate, on you the first,
A speedier ruin — I shall not deny.
Saving myself indubitable pain,
I thought to give you pleasure (who might say ?)
229 gi^tyou pleasure. A, get you pleasure.
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Scene I.] Colottibe'tf UBixtlfimii 1 1 5
By showing that your only subject found 230
To carry the sad notice, was the man
Precisely ignorant of its contents ;
A nameless, mere provincial advocate ;
One whom 't was like you never saw before,
Never would see again. All has gone wrong; 235
But I meant right, God knows, and you, I trust !
Duch. A nameless advocate, this gentleman ?
— (I pardon you, Sir Guibert ! )
Guib. {risings to Faience). Sir, and you ?
FaL — Rejoice that you are lightened of a
load.
Now, you have only me to reckon with. 240
Duch» One I have never seen, much less
obliged ?
Fal. Dare I speak, lady ?
Duch. Dare you ! Heard you not
I rule no longer ?
Fal. Lady, if your rule
Were based alone on such a ground as these
(^pointing to the Courtiers) Could furnish you,
— abjure it ! They have hidden 245
A source of true dominion from your sight.
Duch, You hear them — no such source is
left . . .
Fal. Hear Cleves !
Whose haggard craftsmen rose to starve this day,
230 J?y . . . found. A, In that your only subject we could find.
^ 248 to starve thh day. A, this day to starve.
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1 1 6 Colombe'0 lIBirti^a? [act ii.
Starve now, and will lie down at night to starve,
Sure of a like to-morrow — but as sure 250
Of a most unlike morrow-after-that.
Since end things must, end howsoe'er things may.
What curbs the brute-force instinct in its hour ?
What makes — instead of rising, all as one,
And teaching fingers, so expert to wield 255
Their tool, the broadsword's play or carbine's
trick,
— What makes that there *s an easier help, they
think.
For you, whose name so few of them can spell,
Whose face scarce one in every hundred saw, —
You simply have to understand their wrongs, 260
And wrongs will vanish — so, still trades are
plied.
And swords lie rusting, and myself stand here ?
There is a vision in the heart of each
Of justice, mercy, wisdom, tenderness
To wrong and pain, and knowledge of its cure : 265
And these embodied in a woman's form
That best transmits them, pure as first received.
From God above her, to mankind below.
249 Starve nov), . . . starve. A, Are starving now, and
will lie down at night.
253 Not in first edition. 258 For you. A, And you.
259 in e'very. A, for every.
260 Tou simply . . . wrongs. A, That you have simply to
recme their wrongs.
263-268 These six lines are not in first edition.
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scsN> I.] Colombr'tf IBiitliiNii; 1 1 7
Will you derive your pile from such a ground,
Or rather hold it by the suffrage, say, ayo
Of this man — this — and this ?
Duch, {after a pause). You come from Cleves?
How many are at Cleves of such a mind ?
VaL {from his paper). " We, all the manufac-
turers of Cleves — "
Duch. Or stay, sir — lest I seem too covet-
ous —
Are you my subject ? such as you describe, ^75
Am I to you, though to no other man ?
Val. {from his paper). — '' Valence, ordained
your Advocate at Cleves — "
Duch. {replacing the coronet). Then I remain
Cleves' Duchess ! Take you note.
While Cleves but yields one subject of this
stamp,
I stand her lady till she waves me off! 280
For her sake, all the Prince claims I withhold ;
Laugh at each menace ; and, his power defying.
Return his missive with its due contempt !
Casting it away.
Guib. {picking it up). — Which to the Prince
I will deliver, lady,.
(Note it down, Gaucelme) — with your message
too ! 185
Duch. I think the office is a subject's, sir !
271 Of this man ., and this. A, Of this — and this — and this.
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1 1 8 Colombrtf UBirtl^Oai? [act ii.
— Either . . . how style you him ? — my special
guarder
The Marshal's — for who knows but violence
May follow the delivery ? — Or, perhaps,
My Chancellor's — for law may be to urge 290
On its receipt ! — Or, even my Chamberlain's —
For I may violate established form !
(To Faience.) Sir, — for the half-hour till this
service ends.
Will you become all these to me ?
Fal. (falling on bis knee). My liege !
Duch. Give me !
The Courtiers present their badges of office.
(Putting them by.) Whatever was their virtue
once, 295
They need new consecration. Raising Valence.
Are you mine ?
I will be Duchess yet ! She retires.
The Courtiers. Our Duchess yet !
A glorious lady ! Worthy love and dread !
I '11 stand by her. — And I, whate'er betide !
Guib. (to Faience). Well done, well done, sir !
I care not who knows, 300
You have done nobly and I envy you —
Tho' I am but unfairly used, I think :
For when one gets a place like this I hold.
One gets too the remark that its mere wages,
296 TAey need. A, There needs.
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sciNi I] Colottibe'0 IBirt^mi; 1 1 9
The pay and the preferment, make our prize. 3^5
Talk about zeal and faith apart from these,
We 're laughed at — much would zeal and faith
subsist
Without these also ! Yet, let these be stopped,
Our wages discontinue, — then, indeed.
Our zeal and faith, (we hear on every side,) zio
Are not released — having been pledged away
I wonder, for what zeal and faith in turn ?
Hard money purchased me my place ! No, no —
I 'm right, sir — but your wrong is better still,
If I had time and skill to argue it. 315
Therefore, I say, I '11 serve you how you
please —
If you like, — fight you, as you seem to wish —
(The kinder of me that, in sober truth,
I never dreamed I did you any harm) . . .
Gauc. — Or, kinder still, you '11 introduce, no
doubt, 3*0
His merits to the Prince who 's just at hand.
And let no hint drop he 's made Chancellor
And Chamberlain and Heaven knows what be-
side!
Clugnet (to Faience). You stare, young sir, and
threaten ! Let me say.
That at your age, when first I came to court 325
309 Not in first edition. 312 for nohat 9ual, A, with what
zeal. 313 Hard money. A, *T was money.
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120 Coloitibri IBirtlHWU [actii.
I was not much above a gentleman ;
While now . . .
VaL You are Head-Lackey ? With your
office
I have not yet been graced, sir !
Other Courtiers {to Clugnet). Let him talk !
Fidelity, disinterestedness.
Excuse so much ! Men claim my worship ever 330
Who staunchly and steadfastly . . .
Enter Adolf.
Adolf. The Prince arrives.
Courtiers. Ha? How?
Adolf. He leaves his guard a stage behind
At Aix, and enters almost by himself.
1st Court. The Prince ! This foolish business
puts all out.
2nd Court. Let Gaucelme speak first !
3rd Court. Better I began 335
About the state of Juliers : should one say
All 's prosperous and inviting him ?
ph Court. — Or rather.
All 's prostrate and imploring him ?
5th Court. That 's best.
Where 's the Cleves' paper, by the way ?
4.th Court, (to Faience). Sir — sir —
If you '11 but lend that paper — trust it me, 340
I '11 warrant . . .
330 claim, Af claimed. 331 staunchly. A, stanch.
340 lend. A, ^ve.
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sciNE I.] Colombrtf TBixtlfiaps 1 2 1
^th Court. Softly, sir — the Marshal's
duty !
Clugn. Has not the Chamberlain a hearing
first
By virtue of his patent ?
Gauc. Patents ? — Duties ?
All that, my masters, must begin again !
One word composes the whole controversy : 345
We 're simply now — the Prince's !
The Others. Ay — the Prince's !
Enter Sabyne.
Sabyne. Adolf! Bid . . . Oh, no time for
ceremony !
Where 's whom our lady calls her only subject ?
She needs him. Who is here the Duchess's ?
Val. {starting from his reverie). Most grate-
fully I follow to her feet. 35°
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ACT III.
AFTERNOON.
Scene. — The Vestibule.
Enter Prince Berthold and Melchior.
Berthold. A thriving little burgh this Juliers
looks.
{Half-apart^ Keep Juliers, and as good you kept
Cologne :
Better try Aix, though ! —
Melchior, Please *t your Highness speak ?
Berth, {as before). Aix, Cologne, Frankfort,
— Milan ; — Rome ! —
Melch. The Grave.
More weary seems your Highness, I remark.
Than sundry conquerors whose path I Ve
watched
Through fire and blood to any prize they gain.
I could well wish you, for your proper sake.
Had met some shade of opposition here
— Found a blunt seneschal refuse unlock.
Or a scared usher lead your steps astray.
You must not look for next achievement's palm
So easily : this will hurt your conquering.
Berth. My next ? Ay, as you say, my next
and next !
13 easily. A, easy.
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sciNs I.] Colombe'0 ]l5ittl^inKS 1 23
Well, I am tired, that *s truth, and moody too, 15
This quiet entrance-morning : listen why !
Our little burgh, now, Juliers — 't is indeed
One link, however insignificant.
Of the great chain by which I reach my hope,
— A link I must secure j but otherwise, »o
You *d wonder I esteem it worth my grasp.
Just see what life is, with its shifts and turns !
It happens now — this very nook — to be
A place that once . . . not a long while since^
neither —
When I lived an ambiguous hanger-on »s
Of foreign courts, and bore my claims about.
Discarded by one kinsman, and the other
A poor priest merely, — then, I say, this place
Shone my ambition's object ; to be Duke —
Seemed then, what to be Emperor seems now. 30
My rights were far from judged as plain and sure
In those days as of late, I promise you :
And 't was my day-dream. Lady Colombe here
Might e*en compound the matter, pity me.
Be struck, say, with my chivalry and grace — 35
(I was a boy !) — bestow her hand at length.
And make me Duke, in her right if not mine.
Here am I, Duke confessed, at Juliers now.
21 esteem. A, esteemed. 24 not a long. A, but a short.
31 judged as plain and sure. A, being judged apparent. The
second edition had : far from being judged as plain.
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1 24 Colombo ilBirti^JaB [act m.
Harken : if ever I be Emperor,
Remind me what I felt and said to-day ! 4©
Melch, All this consoles a bookish man like
me.
— And so will weariness cling to you. Wrong,
Wrong ! Had you sought the lady's court your-
self, —
Faced the redoubtables composing it.
Flattered this, threatened that man, bribed the
other, — 45
Pleaded by writ and word and deed, your cause, —
Conquered a footing inch by painful inch, —
And, after long years' struggle, pounced at last
On her for prize, — the right life had been lived.
And justice done to divers faculties 50
Shut in that brow. Yourself were visible
As you stood victor, then j whom now — (your
pardon !)
I am forced narrowly to search and see,
So are you hid by helps — this Pope, your uncle —
Your cousin, the other King! You are a mind, — 55
They, body : too much of mere legs-and-arms
Obstructs the mind so ! Match these with their
like:
40 Remind me . . , to-day. A, Will you remind me this, I feel
and say ? 44 Not in first edition. 45 that man. A, that, and.
47 Conquered . . . inch. A, Conquered yourself a footing inch by
inch. 51 Shut. A, Safe. 52 then; lohom. A, you, whom.
53 I am forced narroioly. A, Narrowly am I forced. 54 So are
you . . . uncle. A, So by your uncle are you hid, this Pope.
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sc«N. I.] €olmbfg UBixtHfiKK 1 25
Match mind with mind !
Berth, And where *s your mind to match ?
They show me legs-and-arms to cope withal !
I M subjugate this city — where 's its mind ? 60
The Courtiers enter slowly,
Melch. Got out of sight when you came troops
and all!
And in its stead, here greets you flesh-and-blood :
A smug oeconomy of both, this first !
As Clugnet bows obsequiously.
Well done, gout, all considered ! — I may go ?
Berth, Help me receive them !
Melch, Oh, they just will say 65
What yesterday at Aix their fellows said —
At Treves, the day before ! Sir Prince, my friend,
Why do you let your life slip thus ? — Mean-
time,
I have my little Juliers to achieve —
The understanding this tough Platonist, 70
Your holy uncle disinterred, Amelius :
Lend me a company of horse and foot,
To help me through his tractate — gain my
Duchy !
Berth, And Empire, after that is gained, will
be—?
Melch, To help me through your uncle's
comment. Prince ! Goes, 75
58 Match mind. A, But mind. fi^ At. A, And.
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8o
1 26 Colombfc? IHrtl^as C^^^ i^-
5/rtA. Ah? Well: he o*er-refines — the
scholar's fault !
How do I let my life slip ? Say, this life,
I lead now, difiers from the common life
Of other men in mere d^ee, not kind.
Of joys and griefs, — still there is such de-
gree-
Mere largeness in a life is something, sure, —
Enough to care about and struggle for.
In this world : for this world, the size of things ;
The sort of things, for that to come, no doubt.
A great is better than a little aim : 85
And when I wooed Priscilla's rosy mouth
And failed so, under that gray convent-wall.
Was I more happy than I should be now
By this time^ the Courtiers are ranged
before him.
If failing of my Empire ? Not a whit.
— Here comes the mind, it once had tasked me
sore 90
To baffle, but for my advantages !
All 's best as 't is ; these scholars talk and talk.
Seats himself.
The Courtiers. Welcome our Prince to Ju-
liers ! — to his heritage !
Our dutifullest service proffer we !
80 Of joys . . . degree. A, Of joys and sorrows, — such degree
there is. 8 x Not in first edition.
91 but for my ad'vantagei. A, let adrantages alone.
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scEN. I.] Colombrg HBUtlffWB 127
Clugnet. I, please your Highness, having ex-
ercised 95
The function of Grand Chamberlain at court,
With much acceptance, as men testify . . .
Berth. I cannot greatly thank you, gentlemen !
The Pope declares my claim to the Duchy
founded
On strictest justice — you concede it, therefore, loo
I do not wonder : and the kings my friends
Protest they mean to see such claim enforced, —
You easily may offer to assist.
But there *s a slight discretionary power
To serve me in the matter, you *ve had long, 105
Though late you use it. This is well to say —
But could you not have said it months ago ?
I 'm not denied my own Duke's truncheon,
true —
'T is flung me — I stoop down, and from the
ground
Pick it, with all you placid standers-by : no
And now I have it, gems and mire at once,
Grace go with it to my soiled hands, you say !
Guibert. (By Paul, the advocate our doughty
friend
Cuts the best figure !)
Gaucelme. If our ignorance
May have offended, sure our loyalty ... 115
95 please. A, please *t. 102 Protest , , , see. A, Protestmg
they will see. 103 assist. A, asast us.
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1 28 Colombe'tf UBiit^B [act m.
Berth. Loyalty ? Yours ? Oh — of your-
selves you speak !
I mean the Duchess all this time, I hope !
And since I have been forced repeat my claims
As if they never had been urged before,
As I began, so must I end, it seems. 120
The formal answer to the grave demand !
What says the lady ?
Courtiers (one to another). 1st Courtier. Mar-
shal ! 2nd Court. Orator !
Guib. A variation of our mistress' way !
Wipe off his boots' dust, Clugnet ! — that, he
waits!
1st Court. Your place !
2nd Court. Just now it was your own !
Guib. The devil's ! 115
Berth, (to Guibert). Come forward, friend —
you with the paper, there !
Is Juliers the first city I 've obtained ?
By this time, I may boast proficiency
In each decorum of the circumstance.
Give it me as she gave it — the petition, 130
Demand, you style it ! What 's required, in brief ?
What title's reservation, appanage's
Allowance ? I heard all at Treves, last week.
Gauc. (to Guibert). '' Give it him as she gave
it!"
119 urged. A, made.
120 so must I endf it seems. A, so probably I end
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scK*. I] ColotiAe'c? lIBtttimis 1 29
Guib, And why not ?
{To Berthold). The lady crushed your summons
thus together, 135
And bade me, with the very greatest scorn
So fair a frame could hold, inform you • . .
Courtiers Stop —
Idiot !
Guib. — Inform you she denied your
claim.
Defied yourself! (I tread upon his heel,
The blustering advocate !)
Berth, By heaven and earth ! 140
Dare you jest, sir ?
Guib. Did they at Treves, last week ?
Berth, {starting up). Why then, I look much
bolder than I knew.
And you prove better actors than I thought :
Since, as I live, I took you as you entered
For just so many dearest friends of mine, 145
Fled from the sinking to the rising power
— The sneaking'st crew, in short, I e*er de-
spised !
Whereas, I am alone here for the moment,
With every soldier left behind at Aix !
Silence ? That means the worst ? I thought as
much ! 150
What follows next then ?
141 Did they. A, Did he.
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130 €ols>mhf6 IBixtlfimiR [actui.
Courtiers. Gracious Prince, he raves !
Guih. He asked the truth and why not get the
truth?
Berth. Am I a prisoner ? Speak, will some-
body ?
■— But why stand paltering with imbeciles ?
Let me see her, or . . .
Guib. Her, without her leave, 155
Shall no one see ; she *s Duchess yet !
Courtiers {^footsteps without^ as they are disput-
ing). Good chance !
She 's here — the Lady Colombe's self!
Berth. 'T is well !
{Aside.) Array a handful thus against my world ?
Not ill done, truly ! Were not this a mind
To match one's mind with ? Colombe ! Let us
wait ! 160
I failed so, under that gray convent wall !
She comes.
Guih. The Duchess ! Strangers, range
yourselves !
As the Duchess enters in conversation
with Valence^ Berthold and the
Courtiers fall hack a little.
Duchess. Presagefully it beats, presagefully.
My heart : the right is Berthold's and not mine.
Valence. Grant that he has the right, dare I
mistrust 165
152 get. A, have.
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Scene I.] ColOtttbe'0 IBittHflm ^ 3^
Your power to acquiesce so patiently
As you believe, in such a dream-like change
Of fortune — change abrupt, profound, com-
plete ?
Duch. Ah, the first bitterness is over now !
Bitter I may have felt it to confront 170
The truth, and ascertain those natures' value
I had so counted on ; that was a pang :
But I did bear it, and the worst is over.
Let the Prince take them !
FaL And take Juliers too ?
— Your people without crosses, wands and
chains — »7S
Only with hearts ?
Duch, There I feel guilty, sir !
I cannot give up what I never had :
For I ruled these, not them — these stood be-
tween.
Shall I confess, sir ? I have heard by stealth
Of Berthold from the first ; more news and <
more: 180
Closer and closer swam the thundercloud.
But I was safely housed with these, I knew.
At times when to the casement I would turn.
At a bird's passage or a flower-trail's play,
I caught the storm's red glimpses on its edge — 185
Yet I was sure some one of all these friends
178 I ruled these. A, these I ruled.
186 of all these friends. A, of thoee about me.
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132 Colombftf IBMIfhBig [act m.
Would interpose : I followed the bird's flight
Or plucked the flower : some one would inter-
pose!
Fal, Not one thought on the People — and
Cleves there !
Ducb, Now, sadly conscious my real sway
was missed, '9®
Its shadow goes without so much regret :
Else could I not again thus calmly bid you.
Answer Prince Berthold !
Fal, Then you acquiesce ?
Duch. Remember over whom it was I ruled !
Guih, (stepping forward). Prince Berthold,
yonder, craves an audience, lady ! 195
Duch. (to Faience). I only have to turn, and I
shall face
Prince Berthold ! Oh, my very heart is sick !
It is the daughter of a line of Dukes
This scornful insolent adventurer
Will bid depart from my dead father's halls ! aoo
I shall not answer him — dispute with him —
But, as he bids, depart ! Prevent it, sir !
Sir — but a mere day's respite ! Urge for me
— What I shall call to mind I should have
urged
When time 's gone by : *t will all be mine, you
urge ! 205
190 Now, A, So.
203 hut a mere day*s respite. A, but a day*! sole respite.
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Sons I.] Colombe'tf IIBittliiWR 1 33
A day — an hour — that I myself may lay
My rule down ! *T is too sudden — " must not
be!
The world 's to hear of it ! Once done — for-
ever!
How will it read, sir ? How be sung about ?
Prevent it !
Berth, (approaching). Your frank indignation,
lady, *»<>
Cannot escape me. Overbold I seem;
But somewhat should be pardoned my surprise
At this reception, — this defiance, rather.
And if, for their and your sake, I rejoice
Your virtues could inspire a trusty few *'5
To make such gallant stand in your behalf,
I cannot but be sorry, for my own,
Your friends should force me to retrace my steps :
Since I no longer am permitted speak
After the pleasant peaceful course prescribed »ao
No less by courtesy than relationship —
Which I remember, if you once forgot.
But never must attack pass unrepelled.
Suffer that, through you, I demand of these.
Who controverts my claim to Juliers ?
213, 218, %%o Not in first edition. 214 sake. A, sokes.
221 iy. A, of. 222-224 fFAicA / . . . oftAete. A reads:
If you forgot once, I remember now !
But, unrepelled, attack must never pass.
Suffisr, through you, your subjects I demand.
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1 34 Colombo « JiNtH^lUi [^"^ ™-
Duch. — Mc **5
You say, you do not speak to —
Berth. Of your subjects
I ask, then : whom do you accredit ? Where
Stand those should answer ?
Fal. (advancing). The lady is alone.
Berth. Alone, and thus ? So weak and yet so
bold?
Fal. I said she was alone —
Berth, And weak, I said. 230
Fal. When is man strong until he feels alone ?
It was some lonely strength at first, be sure.
Created organs, such as those you seek.
By which to give its varied purpose shape :
And, naming the selected ministrants, 235
Took sword, and shield, and sceptre, — each, a
man !
That strength performed its work and passed its
way :
You see our lady : there, the old shapes stand !
— A Marshal, Chamberlain, and Chancellor —
" Be helped their way, into their death put life 240
'' And find advantage ! " — so you counsel us.
But let strength feel alone, seek help itself, —
And, as the inland-hatched sea-creature hunts
The sea's breast out, — as, littered 'mid the
waves
The desert-brute makes for the desert's joy, 245
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SC.N. I ] Colombe'tf IBittl^Oai; 135
So turns our lady to her true resource,
Passing o'er hollow fictions, worn-out types,
— And I am first her instinct fastens on.
And prompt I say, as clear as heart can speak.
The People will not have you ; nor shall have ! 150
It is not merely I shall go bring Cleves
And fight you to the last, — though that does
much.
And men and children, — ay, and women too.
Fighting for home, are rather to be feared
Than mercenaries fighting for their pay — 255
But, say you beat us, since such things have-
been.
And, where this Juliers laughed, you set your
foot
Upon a steaming bloody plash — what then ?
Stand you the more our lord that there you stand ?
Lord it o'er troops whose force you concentrate, 260
A pillared flame whereto all ardours tend —
Lord it 'mid priests whose schemes you amplify,
A cloud of smoke 'neath which all shadows
brood —
But never, in this gentle spot of earth.
Can you become our Colombe, our play-queen, 265
For whom, to furnish lilies for her hair,
246, 247 Not in first edition. 248 And I. A, So, I. 249 as
clear. A, so clear. 259 that there. A, as there. 262 ^mid
priests. A, *mongst priests. 266 For whom. A, Whom we.
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136 Colombe'tf Kinl^as [a«tiii.
We 'd pour our veins forth to enrich the soil.
— Our conqueror ? Yes ! — Our despot ? Yes !
— Our Duke ?
Know yourself, know us !
Berth, (who has been in thought). Know your
lady, also !
{Very deferentially,) — To whom I needs must
exculpate myself 470
For having made a rash demand, at least.
Wherefore to you, sir, who appear to be
Her chief adviser, I submit my claims.
Giving papers.
But, this step taken, take no further step.
Until the Duchess shall pronounce their worth. 275
Here be our meeting-place ; at night, its time :
Till when I humbly take the lady's leave !
He withdraws. As the Duchess turns
to Valence^ the Courtiers interchange
glances and come forward a little,
1st Court, So, this was their device !
2nd Court, No bad device !
jrd Court, You 'd say they love each other,
Guibert's friend
From Cleves, and she, the Duchess !
267 fFe'd, A, Would. 173 Her chief. A, The chief.
279 You*d toy , , , friend. A reads :
They love each other, Gaibert't friend and the i
4 Cturu Plainly I
5 C«Krf . Pray, Guibert, what is next to do \
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sciNE I] Colombe'0 HBfttlite? 137
ph Court. — And moreover, a8o
That all Prince Berthold comes for, is to help
Their loves !
^th Court. Pray, Guibert, what is next to do ?
Guib. {enhancing). I laid my office at the
Duchess' foot —
Others. And I — and I — and I!
Duch. I took them, sirs.
Guib. {apart to Valence). And now, sir, I am
simple knight again — 285
Guibert, of the great ancient house, as yet
^That never bore affront ; whatever your birth, —
As things stand now, I recognize yourself
(If you '11 accept experience of some date)
As like to be the leading man o' the time, ^90
Therefore as much above me now, as I
Seemed above you this morning. Then, I
offered
To fight you : will you be as generous
And now fight me ?
VaL Ask when my life is mine !
Guib. ('T is hers now !)
Clugn. {apart to Valence^ as Guibert turns from
him). You, sir, have insulted me 295
Grossly, — will grant me, too, the selfsame
favour
283 I laid. A, I lay.
285 I am simple knight i^ain. A, simple knight again am I,
291 Therefore, A, And so.
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1 38 Colottibe** UBixt^invi C^" ^i-
You 've granted him, just now, I make no ques-
tion ?
FaL I promise you, as him, sir.
Clugn. Do you so ?
Handsomely said ! I hold you to it, sir.
You '11 get me reinstated in my office 300
As you will Guibert !
Duch. I would be alone !
They begin to retire slowly ; as Valence is
about to follow —
Alone, sir — only with my heart : you stay !
Gauc. You hear that ? Ah, light, breaks upon
me ! Cleves —
It was at Cleves some man harangued us all —
With great eiFect, — so those who listened said, 305
My thoughts being busy elsewhere : was this he ?
Guibert, — your strange, disinterested man !
Your uncorrupted, if uncourtly friend !
The modest worth you mean to patronize !
He cares about no Duchesses, not he — 310
His sole concern is with the wrongs of Cleves !
What, Guibert ? What, it breaks on you at last ?
Guib. Would this hall's floor were a mine's
roof! I'd back
And in her very face . . .
Gauc, ^pply ^^ match
303-312 You hear . . . at last. Not in fint edition.
313 /v. A, I'U.
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Sons I.] Colotttbe'tf HSixtH^wg 1 39
That fired the train, — and where would you
be, pray ? 3«5
Guib. With him !
Gauc. Stand, rather, safe outside with me !
The mine 's charged : shall I furnish you the
match
And place you properly ? To the antechamber !
Guib, Can you ?
Gauc. Try me ! Your friend 's in fortune !
Guib. Quick —
To the antechamber ! He is pale with bliss ! 320
Gauc. No wonder ! Mark her eyes !
Guib. To the antechamber !
The Courtiers retire.
Ducb. Sir, could you know all you have done
for me
You were content ! You spoke, and I am saved.
Val. Be not too sanguine, lady ! Ere you
dream.
That transient flush of generosity 325
Fades oiF, perchance. The man, beside, is
gone, —
Him we might bend 5 but see, the papers here —
Inalterably his requirement stays.
And cold hard words have we to deal with now.
315 That fired. A, That fires, would. A, will.
324 Ere you dream. A, Ere now, even.
326 The man, beside , is gone. A, The man and mood are gone.
327 Not in first edition.
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140 Colotiriie'0 IBitt^ms [act iil
In that large eye there seemed a latent pride, 330
To self-denial not incompetent.
But very like to hold itself dispensed
From such a grace : however, let us hope !
He is a noble spirit in noble form.
I wish he less had bent that brow to smile 335
As with the fancy how he could subject
Himself upon occasion to — himself !
From rudeness, violence, you rest secure ;
But do not think your Duchy rescued yet !
Duch. You, — who have opened a new
world to me, 340
Will never take the faded language up
Of that I leave ? My Duchy — keeping it.
Or losing it — is that my sole world now ?
Val. Ill have I spoken if you thence despise
Juliers ; although the lowest, on true grounds, 345
Be worth more than the highest rule, on false :
Aspire to rule, on the true grounds !
Duch. Nay, hear —
False, I will never — rash, I would not be !
This is indeed my birthday — soul and body,
Its hours have done on me the work of years. 350
You hold the requisition : ponder it !
If I have right, my duty 's plain : if he —
Say so, nor ever change a tone of voice !
330 teemed. A, was.
347 Aspire to rule. A, Aspire to that.
Digitized by VjOOQIC
Son. I.] €o\mS>ee UBitt^n 141
At night you meet the Prince 5 meet me at eve !
Till when, farewell ! This discomposes you ? 355
Believe in your own nature, and its force
Of renovating mine ! I take my stand
Only as under me the earth is firm :
So, prove the first step stable, all will prove.
That first, I choose : {Laying her hand on his,) — -
the next to take, choose you ! 360
She withdraws.
VaL {after a pause). What drew down this on
me ? — on me, dead once.
She thus bids live, — since all I hitherto
Thought dead in me, youth's ardours and emprise.
Burst into life before her, as she bids
Who needs them. Whither will this reach,
where end ? 365
Her hand's print burns on mine . . . Yet she 's
above —
So very far above me ! All 's too plain :
I served her when the others sank away.
And she rewards me as such souls reward —
The changed voice, the suffusion of the cheek, 370
The eye's acceptance, the expressive hand,
— Reward, that 's little, in her generous thought.
Though all to me . . .
.354 At night you meet the Prince, A, At night the Prince you
meet.
359 'will prove. A, will be. 370,371 Not in first edition.
372 in her generous thought. A, that u nought to her.
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2^^
142 Colombr'0 UBittHfiwi [act m.
I cannot so disclaim
Heaven's gift, nor call it other than it is !
She loves me !
{^Looking at the Princess papers,) — Which love,
these, perchance, forbid. 375
Can I decide against myself — pronounce
She is the Duchess and no mate for me ?
— Cleves, help me ! Teach me, — every hag-
gard face, —
To sorrow and endure ! I will do right
Whatever be the issue. Help me, Cleves ! 380
375 pfrchanetf forbid. A, forbid, perchance.
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ACT IV.
EVENING.
Scene. — An Antechamber,
Enter the Courtiers.
Maufroy, Now, then, that we may speak —
how spring this mine ?
Gaucelme. Is Guibert ready for its match?
He cools !
Not so friend Valence with the Duchess there !
'' Stay, Valence ! Are not you my better self? "
And her cheek mantled —
Guibert, Well, she loves him, sir :
And more, — since you will have it I grow
cool, —
She 's right : he 's worth it.
Gauc. For his deeds to-day ?
Say so !
Guib, What should I say beside ?
Gauc. Not this —
For friendship's sake leave this for me to say —
That we 're the dupes of an egregious cheat !
This plain unpractised suitor, who found way
To the Duchess through the merest die's turn-
up
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144 Colottibr'tf lIBirtJteB [act iv.
A year ago, had seen her and been seen,
Loved and been loved.
Guib. Impossible !
Gauc. — Nor say,
How sly and exquisite a trick, moreover, 15
Was this which — taking not their stand on facts
Boldly, for that had been endurable.
But worming on their way by craft, they choose
Resort to, rather, — and which you and we.
Sheep-like, assist them in the playing-ofF! ^
The Duchess thus parades him as preferred.
Not on the honest ground of preference.
Seeing first, liking more, and there an end —
But as we all had started equally.
And at the close of a fair race he proved 25
The only valiant, sage and loyal man.
Herself, too, with the pretty fits and starts, —
The careless* winning, candid ignorance
Of what the Prince might challenge or forego —
She had a hero in reserve ! What risk 30
Ran she ? This deferential easy Prince
Who brings his claims for her to ratify
— He 's just her puppet for the nonce ! You '11
see, —
16 their stand. A, his stand. i% on their way by crafty they
choose. A, on his way by craft, he chose. 20 assist than. A, assist
him. 21 The Duchess . . . preferred. A, The fruit is, she
prefeiB him to ounelves. 22 the honest ground. A, the simple
ground. 23 Seeing . . . end. A, First seeing, liking more, and so
an end. 27 Hers3f. A, And she. 32 H^ho. A, That.
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scxNiL] Colombr'0 IBitt^? 145
Valence pronounces, as is equitable,
Against him : off goes the confederate : 35
As equitably, Valence takes her hand !
The Chancellor. You run too fast : her hand,
no subject takes.
Do not our archives hold her father's will ?
That will provides against such accident.
And gives next heir. Prince Berthold, the rever-
sion 40
Of Juliers, which she forfeits, wedding so.
Gauc. I know that, well as you, — but does
the Prince ?
Knows Berthold, think you, that this plan, he
helps.
For Valence's ennoblement, — would end.
If crowned with the success which seems its due, 45
In making him the very thing he plays.
The actual Duke of Juliers ? All agree
That Colombe's title waived or set aside.
He is next heir.
Chan, Incontrovertibly.
Gauc. Guibert, your match, now, to the train !
Guib. Enough! 50
I 'm with you : selfishness is best again.
I thought of turning honest — what a dream !
Let 's wake now !
39 That will . . . accident. A, Against such accident that
will provides. 42-48 Seven lines not in first edition. 49 He is
next keir. A, He is next heir ?
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146 Colombr'0 WitOfim t^" ^
Gauc. Selfish, friend, you never were :
'T was but a series of revenges taken
On your unselfishness for prospering ill. 55
But now that you 're grown wiser, what 's our
course ?
Guib. — Wait, I suppose, till Valence weds
our lady,
And then, if we must needs revenge ourselves.
Apprise the Prince.
Gauc* — The Prince, ere then dismissed
With thanks for playing his mock part so well ? 60
Tell the Prince now, sir ! Ay, this very night.
Ere he accepts his dole and goes his way.
Explain how such a marriage makes him Duke,
Then trust his gratitude for the surprise !
Guib. — Our lady wedding Valence all the
same 65
55 On your . . . ///. A, Upon unselfishness that prospered HL
55-77 ^^* • • • renewed, A reads :
Guib. Wait, I snppote, till Valence weds oar lady.
And uen apprise the Prince —
Gmue, — Ere then, retired (
Tell the Prince now, sir I Ay, this very night—
Ere he accepts his dole and goes his way.
Tell what has been, declare what ^s like to be.
And really makes him all he feigned himself}
Then trost his gratitude for the surprise !
Guib, Good ! I am sure she *11 not disown her love.
Throw Valence up — I wonder yon see that !
Gmue, The shame of It — the suddenness and shame !
With Valence there to keep her to her word.
And Berthold's own reproaches and disgust —
We *11 try it I — Not that we can renture much !
Her confidence we \e lost forever — his
Must be to gain !
Guib, To-night, then, venture we !
Yet — may a lost lore never be renewed I
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75
scniE I] Colombe'0 15ittl^&a? 147
As if the penalty were undisclosed ?
Good ! If she loves, she '11 not disown her love,
Throw Valence up. I wonder you see that.
Gauc. The shame of it — the suddenness and
shame !
Within her, the inclining heart — without, 70
A terrible array of witnesses —
And Valence by, to keep her to her word.
With Berthold's indignation or disgust !
We '11 try it ! — Not that we can venture much.
Her confidence we 've lost forever : Berthold's
Is all to gain.
Guib, To-night, then, venture we !
Yet — if lost confidence might be renewed ?
Gauc. Never in noble natures ! With the base
ones, —
Twist off the crab's claw, wait a smarting-while.
And something grows and grows and gets to be 80
A mimic of the lost joint, just so like
As keeps in mind it never, never will
Replace its predecessor ! Crabs do that :
But lop the lion's foot — and . . .
Guib. To the Prince !
Gauc. (aside). And come what will to the
lion's foot, I pay you, 85
My cat's-paw, as I long have yearned to pay.
%i A mimic . . . likt. A, A m|mic of the joint, and just so
like. , •
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148 Colombe'0 Mttl^^ [act iv.
(Aloud.) Footsteps! Himself! 'Tis Valence
breaks on us,
Exulting that their scheme succeeds. We '11
hence —
And perfect ours ! Consult the archives, first —
Then, fortified with knowledge, seek the Hall ! 90
Clugnet {to Gaucelme as they retire). You have
not smiled so since your father died !
As they retire^ enter Valence with papers.
Valence. So must it be ! I have examined
these
With scarce a palpitating heart — so calm,
Keeping her image almost wholly off.
Setting upon myself determined watch, 95
Repelling to the uttermost his claims :
And the result is — all men would pronounce
And not I, only, the result to be —
Berthold is heir ; she has no shade of right
To the distinction which divided us, 100
But, suffered to rule first, I know not why,
Her rule connived at by those Kings and Popes,
To serve some devil's-purpose, — now *t is
gained,
88-90 Exulting . . . Hdl, A reads :
WaiU her to boait their scheme succeeds ! -^ We ^U hence ~
And perfect ours ! To the Archives and the Hall !
1 01-104 But, suffered . . . well. A reads ;
But, suffered rule first by these Kings and Popes
To serve some devilVpurpose, — now ^t is gained.
To serve some devilVpurpose must withdraw.
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scN. I.] Colottibe'0 WittHfi^WR 149
Whate'er it was, the rule expires as well.
— Valence, this rapture . . . selfish can it be ? 105
Eject it from your heart, her home ! — It stays !
Ah, the brave world that opens on us both !
— Do my poor townsmen so esteem it ?
Cleves, —
I need not your pale faces ! This, reward
For service done to you ? Too horrible ! no
I never served you : 't was myself I served —
Nay, served not — rather saved from punish-
ment
Which, had I failed you then, would plague me
now.
My life continues yours, and your life, mine.
But if, to take God's gift, I swerve no step — X15
Cleves ! If I breathe no prayer for it — if she.
Footsteps without,
Colombe, that comes now, freely gives herself —
Will Cleves require, that, turning thus to her,
X . • •
Enter Prince Berthold.
Pardon, sir ! I did not look for you
Till night, i' the Hall; nor have as yet declared 120
My judgment to the lady.
Berthold. So I hoped.
107 on us. A, t0 us. no, III you. A, them.
X 16 If I breathe no prayer. A, If no prayer I breathe.
X19 I Md not look. Ay I had not looked.
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1 50 Colombe'0 UBit^fwi [act iv.
FaL And yet I scarcely know why that
should check
The frank disclosure of it first to you —
What her right seems, and what, in consequence.
She will decide on.
Berth. That I need not ask. 125
Fal. You need not : I have proved the lady's
mind:
And, justice being to do, dare act for her.
Berth. Doubtless she has a very noble mind.
Fal. Oh, never fear but she '11 in each con-
juncture
Bear herself bravely ! She no whit depends 130
On circumstance ; as she adorns a throne.
She had adorned . . .
Berth. A cottage — in what book
Have I read that, of every queen that lived ?
A throne ! You have not been instructed, sure.
To forestall my request ?
Fal. *T is granted, sir ! 135
My heart instructs me. I have scrutinized
Your claims . • .
Berth. Ah — claims, you mean, at first pre-
ferred ?
121-125 And yet . . . decide on. A reads :
And yet I scarce know wherefore that prevents
Disclosing it to you — disclosing even
What she determines —
132 A cottage. A, A hovel. X37 at first. A, I first.
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sciN< I.] Colombrtf )15iitl^&ai? 1 5 1
I come, before the hour appointed me.
To pray you let those claims at present rest,
In favour of a new and stronger one. 140
VaL You shall not need a stronger : on the
part
O' the lady, all you ofFer I accept.
Since one clear right suffices : yours is clean
Propose !
Berth, I offer her my hand.
VaL Your hand ?
Berth, A Duke's, yourself say; and, at no
far time, 145
Something here whispers me — an Emperor's.
The lady's mind is noble : which induced
This seizure of occasion ere my claims
Were — settled, let us amicably say !
VaL Your hand !
Berth. (He will fall down and kiss it
next !) 150
Sir, this astonishment 's too flattering.
Nor must you hold your mistress' worth so cheap.
Enhance it, rather, — urge that blood is blood —
The daughter of the Burgrave^, Landgraves,
Markgraves,
Remains their daughter ! I shall scarce gainsay. 155
Elsewhere or here, the lady needs must rule :
138 I come . . , me. A, Before our late appointment, sir, I come.
142 0* the lady. A, Of the lady.
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152 Colombe'0 IBirtl^im? [activ.
Like the imperial crown's great chrysoprase.
They talk of — somewhat out of keeping there.
And yet no jewel for a meaner cap.
Val . You wed the Duchess ?
Berth. Cry you mercy, friend ! i6o
Will the match also influence fortunes here ?
A natural solicitude enough.
Be certain, no bad chance it proves for you !
However high you take your present stand.
There's prospect of a higher still remove ^ — 165
For Juliers will not be my resting-place.
And, when I have to choose a substitute
To rule the little burgh, I '11 think of you
Who need not give your mates a character.
And yet I doubt your fitness to supplant 170
The gray smooth Chamberlain : he 'd hesitate
A doubt his lady could demean herself
So low as to accept me. Courage, sir !
I like your method better : feeling's play
Is franker much, and flatters me beside. i75
VaL I am to say, you love her ?
Berth. Say that too !
Love has no great concernment, thinks the
world.
With a Duke's marriage. How go precedents
158 talk of. A, tell mc. i6i fFiil . . . here. A, The match
will influence many fortunes here? 162 ^ natural solicitude
enough. A, A natural enough solicitude. 168 Not in first edition.
169 fFho, A, You. 171 gray. A, grew ; a palpable misprint.
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Sent. I.] CdlotiAe'0 IBirtl^im? 153
In Julicrs* story — how use Juliers' Dukes ?
I see you have them here in goodly row ; i8o
Yon must be Luitpold — ay, a stalwart sire !
Say, I have been arrested suddenly
In my ambition's course, its rocky course.
By this sweet flower: I fain would gather it
And then proceed : so say and speedily 185
— (Nor stand there like Duke Luitpold's brazen
self!)
Enough, sir : you possess my mind, I think.
This is my claim, the others being withdrawn.
And to this be it that, i' the Hall to-night.
Your lady's answer comes ; till when, farewell ! 190
He retires,
VaL {after a pause). The heavens and earth
stay as they were ; my heart
Beats as it beat : the truth remains the truth.
What falls away, then, if not faith in her ?
Was it my faith, that she could estimate
Love's value, and, such faith still guiding me, 195
Dare I now test her ? Or grew faith so strong
Solely because no power of test was mine ?
180 Not in first edition.
183 course f its rocky. A, course ... say rocky.
188 Not in first edition.
189 yind to , . . to-night. A, To this claim, be it in the
Hall at night.
193 then^ if not faith in herf A, if not my fiiith in her?
196 Dare I , . , strong. A, Dare I to test her now, — or
had I fidth
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1 54 Cotombe'g HBtrtl^im? [act iv.
Enter the Duchess.
The Duchess. My fate, sir! Ah, you turn
away. All 's over.
But you are sorry for me ? Be not so !
What I might have become, and never was, aoo
Regret with me ! What I have merely been.
Rejoice I am no longer ! What I seem
Beginning now, in my new state, to be,
Hope that I am ! — for, once my rights proved
void,
This heavy roof seems easy to exchange 105
For the blue sky outside — my lot henceforth.
Val. And what a lot is Berthold's !
Duch. How of him ?
VaL He gathers earth's whole good into his
arms;
Standing, as man now, stately, strong and wise.
Marching to fortune, not surprised by her. aio
One great aim, like a guiding-star, above —
Which tasks strength, wisdom, stateliness, to lift
His manhood to the height that takes the prize ;
202-204 fFhat I seem . . . 'uoid. A reads :
What I now
Begin, a simple woman now, to be,
Hope that 1 am, for, now my rights are void.
208-223 ^^ gathers . . . star. A reads :
He stands, a man, now; stately, strong and wise —
One great aim, like a gniding star, before —
Which tasks strength, wisdom, stateliness to follow,
As not its substance, but its shine he tracks.
Nor dreams of more than, just evolving these
To folness, will suffice him to life's end.
After this star, etc.
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soNB I.] CoUmibe'0 llBirtl^te]? 155
A prize not near — lest overiooking earth
He rashly spring to seize it — nor remote, 215
So that he rest upon his path content :
But day by day, while shimmering grows shine.
And the faint circlet prophesies the orb.
He sees so much as, just evolving these.
The stateliness, the wisdom and the strength, 220
To due completion, will suffice this life.
And lead him at his grandest to the grave.
After this star, out of a night he springs 5
A beggar's cradle for the throne of thrones
He quits; so, mounting, feels each step he
mounts, 225
Nor, as from each to each exultingly
He passes, overleaps one grade of joy.
This, for his own good : — with the world, each
gift
Of God and man, — reality, tradition.
Fancy and fact — so well environ him, 230
That as a mystic panoply they serve —
Of force, untenanted, to awe mankind.
And work his purpose out with half the world.
While he, their master, dexterously slipt
From such encumbrance, is meantime employed 135
With his own prowess on the other half.
Thus shall he prosper, every day's success
Adding, to what is he, a solid strength —
236 on the other. A, with the other.
237 Thus shall he prosper. A, So shall he go on.
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156 Colattibr^ IBirtl^lU]; [act iv.
An aery might to what encircles him,
Till at the last, so life's routine lends help, 240
That as the Emperor only breathes and moves.
His shadow shall be watched, his step or stalk
Become a comfort or a portent, how
He trails his ermine take significance, —
Till even his power shall cease to be most power, 245
And men shall dread his weakness more, nor
dare
Peril their earth its bravest, first and best.
Its typified invincibility.
Thus shall he go on, greatening, till he ends —
The man of men, the spirit of all flesh, 250
The fiery centre of an earthly world !
Duch. Some such a fortune I had dreamed
should rise
Out of my own — that is, above my power
Seemed other, greater potencies to stretch —
VaL For you ?
Duch, It was not I moved there, I think : %$$
But one I could, — though constantly beside.
And aye approaching, — still keep distant from.
And so adore. 'T was a man moved there.
239 aery. A, airy. 240 lends help. A, shall grow.
245-249 Till even . , , he ends, A reads :
Till even his power shall cease his power to be.
And most his weakness men shall fear, nor ranqoish
Their typified invincibility.
So shall he go on, so at last shall end.
251 earthly. A, earthy. •
258 *T'wasaman. A, A man *t was.
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sciNE I.] Colattibe'0 Wixtl^^ 1 5 7
Fal. Who ?
Duch. I felt the spirit, never saw the face.
Fal. See it ! 'T is Berthold's ! He enables
you *^®
To realize your vision.
Duch. Berthold ?
Fal. Duke —
Emperor to be : he proffers you his hand.
Duch. Generous and princely !
Fal. He is all of this.
Duch. Thanks, Berthold, for my father's
sake ! No hand
Degrades me.
Fal. You accept the proffered hand ? 265
Duch. That he should love me !
Fal. " Loved " I did not say.
Had that been — love might so incline the Prince
To the world's good, the world that 's at his
foot, —
I do not know, this moment, I should dare
Desire that you refused the world — and
Cleves — 270
The sacrifice he asks.
Duch. Not love me, sir ?
FaL He scarce affirmed it.
Duch. May not deeds affirm ?
267 love might so. A, so might love.
270 Desire that you refused. A, Give counsel
272 deeds affirm. A, deeds say more.
you refuse.
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158 Colattibe'0 JSittHgim l^^^ ^^
FaL What does he ? . . . Yes, yes, very much
he does !
All the shame saved, he thinks, and sorrow
saved —
Immitigable sorrow, so he thinks, — ^75
Sorrow that 's deeper than we dream, perchance.
Duch. Is not this love ?
FaL So very much he does !
For look, you can descend now gracefully :
All doubts are banished, that the world might
have.
Or worst, the doubts yourself, in after-time, a8o
May call up of your heart's sincereness now.
To such, reply, " I could have kept my rule —
*' Increased it to the utmost of my dreams —
*' Yet I abjured it." This, he does for you :
It is munificently much.
Duch. Still " much " ! a^s
But why is it not love, sir ? Answer me !
FaL Because not one of Berthold's words and
looks
Had gone with love's presentment of a flower
To the beloved : because bold confidence.
Open superiority, free pride — *9o
Love owns not, yet were all that Berthold
owned :
282 / could have kept my rule. A, My rule I could have kq>t.
284 Tet I . , . you. A, Yet abjured all. This, Berthold docs
for you. 291 yet. A, and.
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soNE I.] Coloitibe'0 y&MtW2 159
Because where reason, even, finds no flaw,
Unerringly a lover's instinct may.
Duch. You reason, then, and doubt ?
FaL I love, and know.
Duch. You love ? How strange ! I never
cast a thought 295
On that. Just see our selfishness ! You seemed
So much my own ... I had no ground — and
yet,
I never dreamed another might divide
My power with you, much less exceed it.
Fal. Lady,
I am yours wholly.
Duch. Oh, no, no, not mine ! 300
'T is not the same now, never more can be.
— Your first love, doubtless. Well, what's
gone from me ?
What have I lost in you ?
F'aL My heart replies —
No loss there ! So, to Berthold back again :
This offer of his hand, he bids me make — 305
Its obvious magnitude is well to weigh.
Duch. She 's . . . yes, she must be very fair
for you !
FaL I am a simple advocate of Cleves.
Duch. You ! With the heart and brain that
so helped me,
304 &, to Berthold back t^tan. A, So of BerthoId*8 propotidon.
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1 60 Coloitibe'0 )l5f«|Ha]? [act iv.
I fancied them exclusively my own, 310
Yet find are subject to a stronger sway !
She must be . . . tell me, is she very fair ?
Vol. Most fair, beyond conception or belief.
Duch. Black eyes ? — no matter ! Colombe,
the world leads
Its life without you, whom your friends professed 3'5
The only woman : see how true they spoke !
One lived this while, who never saw your face.
Nor heard your voice — unless ... Is she from
Cleves ?
VaL Cleves knows her well.
Duch. Ah — just a fancy, now !
When you poured forth the wrongs of Cleves,
— I said, 320
— Thought, that is, afterward . . •
VaL You thought of me ?
Duch. Of whom else ? Only such great
cause, I thought.
For such effect : see what true love can do !
Cleves is his love. I almost fear to ask
. . . And will not. This is idling: to our
work ! 3*5
Admit before the Prince, without reserve.
My claims misgrounded ; then may follow better
310 them. A, both.
316 only. A, single, spoke. A, were.
322 great cause. A, a cause.
325 And luill not. A, Nor will not
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sciNs I.] Cototidirfl? mSitttfiOLii 1 6 1
. . When you poured out Cleves' wrongs
impetuously,
Was she in your mind ?
Fal. All done was done for her
— To humble me !
Duch, She will be proud at least. 330
Fal. She?
Duch. When you tell her.
Fal. That will never be.
Duch. How — are there sweeter things you
hope to tell ?
No, sir ! You counselled me, — I counsel you
In the one point I — any woman — can.
Your worth, the first thing ; let her own come
next — 335
Say what you did through her, and she through
you —
The praises of her beauty afterward !
Will you? \
Fal. I dare not.
Duch. Dare not ?
Fal. She I love
Suspects not such a love in me.
Duch. . You jest.
Fal. The lady is above me and away. 340
Not only the brave form, and the bright mind,
And the great heart, combine to press me low —
But all the world calls rank divides us.
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i62 Colombe'fi^ UBirtlitoB [activ.
Duch. Rank !
Now grant me patience ! Here 's a man declares
Oracularly in another's case — 345
Sees the true value and the false, for them —
Nay, bids them see it, and they straight do see.
You called my court's love worthless — so it
turned :
I threw away as dross my heap of wealth.
And here you stickle for a piece or two ! 35®
First — has she seen you ?
Val. Yes.
Duch. She loves you, then.
VaL One flash of hope burst ; then succeeded
night :
And all 's at darkest now. Impossible !
Duch. We '11 try : you are — so to speak —
my subject yet ?
VaL As ever — to the death.
Duch. Obey me, then ! 355
VaL I must.
Duch, Approach her, and ... no ! first
of all
Get more assurance. ** My instructress," say,
" Was great, descended from a line of kings,
" And even fair " — (wait why I say this folly) —
" She said, of all men, none for eloquence, 360
^^ Courage, and (what cast even these to shade)
354 to to speak. A, somehow.
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sciNii] CoUtttibe'* UBiitlilMi]? 163
*' The heart they sprung from, — none deserved
like him
*' Who saved her at her need : if she said this,
" What should not one I love, say ? "
VaL Heaven — this hope —
Oh, lady, you are filling me with fire ! 365
Duch. Say this ! — nor think I bid you cast
aside
One touch of all the awe and reverence ;
Nay, make her proud for once to heart's content
That all this wealth of heart and soul 's her own !
Think you are all of this, — and, thinking it, 370
. . . (Obey!)
VaL I cannot choose.
Duch. Then, kneel to her !
Valence sinks on his knee.
I dream!
VaL Have mercy ! yours, unto the death, —
I have obeyed. Despise, and let me die !
Duch. Alas, sir, is it to be ever thus ?
Even with you as with the world ? I know 375
This morning's service was no vulgar deed
Whose motive, once it dares avow itself.
Explains all done and infinitely more.
So, takes the shelter of a nobler cause.
367 /^ awe. A, that awe.
379,380 a nohler cause . . . Tour service. A reads:
a meaner canae.
Whence rising, its effects may amply show.
Your service, etc
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1 64 Colottibe'0 UBittl^? [act iv.
Your service named its true source, — loyalty ! 380
The rest *s unsaid again. The Duchess bids you.
Rise, sir ! The Prince's words were in debate.
VaL (rising). Rise ? Truth, as ever, lady,
comes from you !
I should rise — I who spoke for Cleves, can
speak
For Man — yet tremble now, who stood firm
then. 385
I laughed — for 't was past tears — that Cleves
should starve
With all hearts beating loud the infamy.
And no tongue daring trust as much to air :
Yet here, where all hearts speak, shall I be mute ?
Oh, lady, for your own sake look on me ! 39«>
On all I am, and have, and do — heart, brain.
Body and soul, — this Valence and his gifts !
I was proud once : I saw you, and they sank.
So that each, magnified a thousand times.
Were nothing to you — but such nothingness, 395
Would a crown gild it, or a sceptre prop,
A treasure speed, a laurel-wreath enhance ?
What is my own desert ? But should your love
Have . . . there 's no language helps here . . .
singled me, —
Then — oh, that wild word " then ! ** — be just
to love, 400
384, 385 IV Ao, A, that.
396 Would a croivn gild it. A, What would a crown gild.
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Scene I] €olOmhfg IBiO^t^lg 1 65
In generosity its attribute !
Love, since you pleased to love ! All 's cleared
— a stage
For trial of the question kept so long :
Judge you — Is love or vanity the best ?
You, solve it for the world's sake — you, speak
first 405
What all will shout one day — you, vindicate
Our earth and be its angel ! All is said.
Lady, I offer nothing — I am yours :
But, for the cause' sake, look on me and him.
And speak !
Duch, I have received the Prince's message : 410
Say, I prepare my answer !
Fal. Take me, Cleves ! {He withdraws.)
Duch. Mournful — that nothing 's what it
calls itself!
Devotion, zeal, faith, loyalty — mere love !
And, love in question, what may Berthold's be ?
I did ill to mistrust the world so soon : 415
Already was this Berthold at my side.
The valley-level has its hawks no doubt :
May not the rock-top have its eagles, too ?
Yet Valence ... let me see his rival then !
402 Lo^e since . . . stage. A, Love, as you pleased to love !
AU is cleared — a stage.
403 A has no pause at end of line.
403-404 so long : Judge you. A, so long For you.
405 speak. Ay say.
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ACT V.
NIGHT.
Scene. — The Hall.
Enter Berthold and Melchior.
Melchior. And here you wait the matter's
issue ?
Berthold. Here.
Melch. I don't regret I shut Amelius, then.
But tell me, on this grand disclosure, — how
Behaved our spokesman with the forehead ?
Berth. Oh,
Turned out no better than the foreheadless — 5
Was dazzled not so very soon, that 's all !
For my part, this is scarce the hasty showy
Chivalrous measure you give me credit of.
Perhaps I had a fancy, — but 't is gone.
— Let her commence the unfriended innocent 10
And carry wrongs about from court to court ?
No, truly ! The least shake of fortune's sand,
— My uncle-Pope chokes in a coughing fit,
King-cousin takes a fancy to blue eyes, —
And wondrously her claims would brighten up ; 15
^ Ok! A, Oh, — he. 9 Not in first edition.
10 the unfriended. A, unfiiended.
13 My uncle-Pope . . ,Jit, A, My uncle chokes in his next
cottghing-fit 14 King-cousin, A, King Philip.
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Scene I] Colotttbe'iB? UBitt^fiai? 167
Forth comes a new gloss on the ancient law,
O'er-looked provisoes, o'er-past premises.
Follow in plenty. No : *t is the safe step.
The hour beneath the convent-wall is lost :
Juliers and she, once mine, are ever mine. ao
Melch. Which is to say, you, losing heart
already.
Elude the adventure.
Berth. Not so — or, if so —
Why not confess at once that I advise
None of our kingly craft and guild just now
To lay, one moment, down their privilege 25
With the notion they can any time at pleasure
Retake it : that may turn out hazardous.
We seem, in Europe, pretty well at end
O' the night, with our great masque : those
favoured few
Who keep the chamber's top, and honour's chance 30
Of the early evening, may retain their place
And figure as they list till out of breath.
But it is growing late : and I observe
A dim grim kind of tipstaves at the doorway
Not only bar new-comers entering now, 35
But caution those who left, for any cause,
And would retufn, that morning draws too near 5
The ball must die off, shut itself up. We —
17 d*er-past. A, past o*er. i8 safe. A, safer.
19 Not in first edition.
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i68 Colombe'fif UBirt^i? [act v.
I think, may dance lights out and sunshine in,
And sleep off headache on our frippery : 40
But friend the other, who cunningly stole out,
And, after breathing the fresh air outside,
Means to re-enter with a new costume.
Will be advised go back to bed, I fear.
I stick to privilege, on second thoughts. 45
Melch. Yes — you evade the adventure : and,
beside.
Give yourself out for colder than you are.
King Philip, only, notes the lady's eyes ?
Don't they come in for somewhat of the motive
With you too ?
Berth. Yes — no : I am past that now. 50
Gone 't is : I cannot shut my soul to fact.
Of course, I might by forethought and con-
trivance
Reason myself into a rapture. Gone :
And something better come instead, no doubt.
Melch. So be it ! Yet, all the same, proceed
my way, 55
Though to your ends ; so shall you prosper best !
The lady, — to be won for selfish ends, —
Will be won easier my unselfish . . . call it.
Romantic way.
42 Not in first edition. 43 Means to. A, And thinks, new,
A, fresh. ^9 for somewhat. A, somewhat. 51 soul. A, eyes.
54 better. A, better's. 55 Tet^ all . . . wcy. A, Yet, proceed
my way, the same. 56 ends. A, end.
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Scene I.] ColOttlbTtf TBiXtHfiO^ 1 69
Berth. Won easier ?
Melch. Will not she?
Berth. There I profess humility without
bound : 60
111 cannot speed — not I — the Emperor.
Melch. And I should think the Emperor best
waived,
From your description of her mood and way.
You could look, if it pleased you, into hearts ;
But are too indolent and fond of watching 65
Your own — you know that, for you study it.
Berth. Had you but seen the orator her friend,
So bold and voluble an hour before.
Abashed to earth at aspect of the change !
Make her an Empress ? Ah, that changed the
case ! 7©
Oh, I read hearts ! 'T is for my own behoof,
I court her with my true worth : wait the event !
I learned my final lesson on that head
When years ago, — my first and last essay —
Before the priest my uncle could by help 75
Of his superior, raise me from the dirt —
Priscilla left me for a Brabant lord
Whose cheek was like the topaz on his thumb.
I am past illusion on that score.
68, 70 Not in first edition. 71 *Tis, A, And. 72 wait.
A, see. 75 Before . . . help. A, Before my uncle could obtain
the ear. 76 raise me. A, help me. 77 lord. A, Duke.
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170 Colotiibe'0 UBirt^tiai; [act v.
Melch. Here comes
The lady —
Berth. — And there you go. But do not !
Give me 80
Another chance to please you ! Hear me plead !
Melch. You '11 keep, then, to the lover, to the
man ?
Enter the Duchess — followed hy Adolf and Sabyne
and^ after an interval^ hy the Courtiers.
Berth. Good auspice to our meeting !
The Duchess. May it prove !
— And you, sir, will be Emperor one day ?
Berth. (Ay, that *s the point !) I may be
Emperor. 85
Duch. ^T is not for my sake only, I am
proud
Of this you offer : I am prouder far
That from the highest state should duly spring
The highest, since most generous, of deeds.
Berth. (Generous — still that !) You under-
rate yourself. 90
You are, what I, to be complete, must gain —
Find now, and may not find, another time.
While I career on all the world for stage.
There needs at home my representative.
Duch, — Such, rather, would some warrior-
woman be —
82 lover. A, gallant.
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95
scEN£i.] Colombe'iB? IBirt^l? 171
One dowered with lands and gold, or rich in
friends —
One like yourself.
Berth, Lady, I am myself,
And have all these : I want what 's not myself.
Nor has all these. Why give one hand two
swords ?
Here 's one already : be a friend's next gift loo
A silk glove, if you will — I have a sword.
Duch» You love me, then ?
Berth. Your lineage I revere.
Honour your virtue, in your truth believe,
Do homage to your intellect, and bow
Before your peerless beauty.
Duch. But, for love — 105
Berth. A further love I do not understand.
Our best course is to say these hideous truths,
And see them, once said, grow endurable :
Like waters shuddering from their central bed.
Black with the midnight bowels of the earth, no
That, once up-spouted by an earthquake's throe,
A portent and a terror — soon subside.
Freshen apace, take gold and rainbow hues
In sunshine, sleep in shadow, and at last
Grow common to the earth as hills or trees — 115
Accepted by all things they came to scare.
104 to your intellect. A, to intelligence. 105 your peerless.
A, a peerless. 114/0 ^»'^'»^ • • • ^^'f- A, Under the sun
and m the air, — at last.
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172 Colotidie'0 Mrt^mc [act v.
Duch. You cannot love, then ?
Berth. Charlemagne, perhaps !
Are you not over-curious in love-lore ?
Duch. I have become so, very recently,
It seems, then, I shall best deserve esteem, 120
Respect, and all your candour promises.
By putting on a calculating mood —
Asking the terms of my becoming yours ?
Berth. Let me not do myself injustice, neither.
Because I will not condescend to fictions 1*5
That promise what my soul can ne'er acquit,
It does not follow that my guarded phrase
May not include far more of what you seek
Than wide profession of less scrupulous men.
You will be Empress, once for all : with me 130
The Pope disputes supremacy — you stand.
And none gainsays, the earth's first woman.
Duch. That —
Or simple Lady of Ravestein again ?
Berth. The matter 's not in my arbitrament :
Now I have made my claims — which I regret — 135
Cede one, cede all.
Duch. This claim then, you enforce ?
Berth. The world looks on.
Duch. And when must I decide ?
Berth. When, lady ? Have I said thus much
so promptly
129 profession. A, professions.
138 so promptly. A, at first.
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scK*ii.] Colottdie'iB? IBiirtitiimi; 173
For nothing ? — Poured out, with such pains, at
once
What I might else have suffered to ooze forth 140
Droplet by droplet in a lifetime long —
For aught less than as prompt an answer, too ?
All 's fairly told now : who can teach you more ?
Duch. I do not see him.
Berth, I shall ne'er deceive.
This offer should be made befittingly 145
Did time allow the better setting forth
The good of it, with what is not so good.
Advantage, and disparagement as well :
But as it is, the sum of both must serve.
I am already weary of this place ; 150
My thoughts are next stage on to Rome, De-
cide !
The Empire — or, — not even Juliers now !
Hail to the Empress — farewell to the Duchess !
The Courtiers^ who have been drawing
nearer and nearer^ interpose.
Gaucelme, — '^ Farewell," Prince ? when we
break in at our risk —
Clugnet. Almost upon court-license trespass-
ing — 155
145 should be made befittingly. A, had been made more leisurely.
1^6 Did. A, Would. /orM. A, off. 147 Not in first edition.
1 51-15 3 Decide ! . . . the Duchess ! A reads :
Now cither
Hail to the Empress — farewell to the Lady.
154 Gaucelme. A, Courtiers.
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174 Colombr* lIBirtl^Oai? [act v.
Gauc, — To point out how your claims are
valid yet !
You know not, by the Duke her father's will,
The lady, if she weds beneath her rank,
Forfeits her Duchy in the next heir's favour —
So 't is expressly stipulate. And if i6o
It can be shown *t is her intent to wed
A subject, then yourself, next heir, by right
Succeed to Juliers.
Berth. What insanity ? —
Guibert. Sir, there 's one Valence, the pale
fiery man
You saw and heard this morning — thought, no
doubt, 165
Was of considerable standing here :
I put it to your penetration. Prince,
If aught save love, the truest love for her
Could make him serve the lady as he did !
He 's simply a poor advocate of Cleves 170
— Creeps here with difficulty, finds a place
With danger, gets in by a miracle.
And for the first time meets the lady's face —
So runs the story : is that credible ?
For, first — no sooner in, than he 's apprised 175
156 Gauc. A, Courden. i6a, 163 A subject . . . insanity! A reads:
A subject then yov
Btrth.
169 Could make. A, Had made.
A subject then yourself . . .
Btrth. What insolence I
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sciNi I] Cokmtbe'0 UBirt^teu 1 75
Fortunes have changed ; you are all-powerful
here,
The lady as powerless : he stands fast by her !
Duch, {aside). And do such deeds spring up
from love alone ?
Guib. But here occurs the question, does the
lady
Love him again ? I say, how else can she ? i8o
Can she forget how he stood singly forth
In her defence, dared outrage all of us.
Insult yourself — for what, save love's reward ?
Duch. {aside). And is love then the sole
reward of love ?
Guib. But, love him as she may and must —
you ask, 185
Means she to wed him ? " Yes," both natures
answer !
Both, in their pride, point out the sole result \
Nought less would he accept nor she propose.
For each conjuncture was she great enough
— Will be, for this.
Clugn. Though, now that this is known, 190
Policy, doubtless, urges she deny . . .
Duch. — What, sir, and wherefore ? — since
I am not sure
That all is any other than you say !
You take this Valence, hold him close to me.
Him with his actions : can I choose but look ? 195
195 actions. A, action.
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1 76 Colombe'g HBfet^tei? [act v.
I am not sure, love trulier shows itself
Than in this man, you hate and would degrade,
Yet, with your worst abatement, show me thus.
Nor am I — (thus made look within myself,
Ere I had dared) — now that the look is dared — aoo
Sure that I do not love him !
Guib. Hear you. Prince ?
Berth. And what, sirs, please you, may this
prattle mean
Unless to prove with what alacrity
You give your lady's secrets to the world ?
How much indebted, for discovering 105
That quality, you niake me, will be found
When there 's a keeper for my own to seek.
Courtiers. " Our lady ? "
Berth. — She assuredly remains.
Duch. Ah, Prince — and you too can be
generous ?
You could renounce your power, if this were so, 210
And let me, as these phrase it, wed my love
Yet keep my Duchy ? You perhaps exceed
Him, even, in disinterestedness !
Berth. How, lady, should all this affect my
purpose ?
Your will and choice are still as ever, free. "5
205 Hoiv much. A, But how.
207 H^hen there *s . . . seek. A, When next a keeper for my
own *8 to seek. 211 phrase it. A, argue. 212 Tet. A, And.
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sciNs I.] Colombe'0 UBitt^i^wi 177
Say, you have known a worthier than myself
In mind and heart, of happier form and face —
Others must have their birthright : I have gifts,
To balance theirs, not blot them out of sight.
Against a hundred alien qualities, s^o
I lay the prize I offer. I am nothing :
Wed you the Empire ?
Duch, And my heart away ?
Berth. When have I made pretension to your
heart ?
I give none. I shall keep your honour safe ;
With mine I trust you, as the sculptor trusts »a5
Yon marble woman with the marble rose.
Loose on her hand, she never will let fall.
In graceful, slight, silent security.
You will be proud of my world-wide career.
And I content in you the fair and good. ^lo
What were the use of planting a few seeds
The thankless climate never would mature —
Affections all repelled by circumstance ?
Enough : to these no credit I attach, —
To what you own, find nothing to object. »35
Write simply on my requisition's face
What shall content my friends — that you admit.
As Colombe of Ravcstein, the claims therein,
Or never need admit them, as my wife —
And either way, all 's ended !
220 alien. A, other.
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178 CotondifiB? IKitlrUn; [act v.
Duch. Let all end ! 240
Berth. The requisition !
Gutb, — Valence holds, of course !
Berth. Desire his presence ! Adolf goes out.
Courtiers (to each other). Out it all comes
yet;
He '11 have his word against the bargain yet ;
He 's not the man to tamely acquiesce.
One passionate appeal — upbraiding even, 245
May turn the tide again. Despair not yet !
They retire a little.
Berth, (to Melchior). The Empire has its old
success, my friend !
Melch. You Ve had your way : before the
spokesman speaks,
Let me, but this once, work a problem out.
And evermore be dumb ! The Empire wins ? 250
To better purpose have I read my books !
Enter Valence,
Melch. (to the Courtiers). Apart, my masters !
(To Valence.) Sir, one word with you !
I am a poor dependent of the Prince's —
Pitched on to speak, as of slight consequence.
You are no higher, I find : in other words, 255
We two, as probably the wisest here.
Need not hold diplomatic talk like fools.
241 Valence holdi^ of course. Given in A to Courtiers.
243 yet. A, still. 246 May. A, Might. 248 speah. A, comes.
251 have I read. A, I have read. 253 Prince's. A, Prince.
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sciN£ I] Cokmtbe'iB? 31Bi«|>aai? 1 79
Suppose I speak, divesting the plain fact
Of all their tortuous phrases, fit for them ?
Do you reply so, and what trouble saved ! a6o
The Prince, then — an embroiled strange heap
of news
This moment reaches him — if true or false,
All dignity forbids he should inquire
In person, or by worthier deputy ;
Yet somehow must inquire, lest slander come : 265
And so, *t is I am pitched on. You have heard
His offer to your lady ?
Valence. Yes.
Melch. — Conceive
Her joy thereat ?
VaL I cannot.
Melch. No one can.
All draws to a conclusion, therefore.
Val (aside). So !
No after-judgment — no first thought revised — 270
Her first and last decision ! — me, she leaves.
Takes him ; a simple heart is flung aside.
The ermine o'er a heartless breast embraced.
Oh Heaven, this mockery has been played too
oft!
Once, to surprise the angels — twice, that fiends 175
Recording, might be proud they chose not so —
258 Suppose I speak. A, So, I shall speak.
a6o trouble. A, trouble *s. 276 Recording , , . so. A, Might
record, hug themselves they chose not so.
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1 80 Colombe'0 UBirtl^ai? [act v.
Thrice, many thousand times, to teach the world
All men should pause, misdoubt their strength,
since men
Can have such chance yet fail so signally,
— But ever, ever this farewell to Heaven, 280
Welcome to earth — this taking death for life —
This spurning love and kneeling to the world —
Oh Heaven, it is too often and too old !
Melch, Well, on this point, what but an
absurd rumour
Arises — these, its source — its subject, you ! 285
. Your faith and loyalty misconstruing.
They say, your service claims the lady's hand !
Of course, nor Prince nor lady can respond :
Yet something must be said : for, were it true
You made such claim, the Prince would • . .
Val. Well, sir, — would ? 290
Melch. — Not only probably withdraw his
suit.
But, very like, the lady might be forced
Accept your own. Oh, there are reasons why !
But you '11 excuse at present all save one, —
I think so. What we want is, your own wit-
ness, 295
For, or against — her good, or yours : decide !
279 Can ham sucA, A, Could have the.
287 TAey say, . . . Aand. A, The Iady*8 hand your service
claims, they say.
294 one. A, this.
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sciN. I] Colambe'0 MttHftm^ i8i
FaL {aside\ Be it her good if she accounts
it so!
{After a contest.) For what am I but hers, to
choose as she ?
Who knows how far, beside, the light from
her
May reach, and dwell with, what she looks
upon ? 300
Melch. {to the Prince). Now to him, you !
Berth, (to Faience). My friend acquaints
you, sir.
The noise runs ...
FaL — Prince, how fortunate are you.
Wedding her as you will, in spite of noise.
To show belief in love ! Let her but love you,
All else you disregard ! What else can be ? 3^5
You know how love is incompatible
With falsehood — purifies, assimilates
All other passions to itself.
Melch. Ay, sir :
But softly ! Where, in the object we select.
Such love is, perchance, wanting ?
FaL Then indeed, 310
What is it you can take ?
Melch. Nay, ask the world !
Youth, beauty, virtue, an illustrious name.
An influence o'er mankind.
303 noise. A, it. 313 mankind. A, the world.
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1 82 Cotombrtf IBiit^liai; [act v.
VaL When man perceives . . .
— Ah, I can only speak as for myself !
Duch. Speak for yourself !
Val. May I ? — no, I have spoken, 315
And time's gone by. Had I seen such an
one.
As I loved her — weighing thoroughly that
word —
So should my task be to evolve her love :
If for myself ! — if for another — well.
Berth. Heroic truly ! And your sole re-
ward, — 3«>
The secret pride in yielding up love's right ?
VaL Who thought upon reward? And yet
how much
Comes after — oh, what amplest recompense !
Is the knowledge of her, nought ? the memory,
nought ?
— Lady, should such an one have looked on
you, 3*5
Ne'er wrong yourself so far as quote the world
And say, love can go unrequited here !
You will have blessed him to his whole life's
end —
Low passions hindered, baser cares kept back.
All goodness cherished where you dwelt — and
dwell. 330
321 love*s right. A, your own.
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scNE I] Colombe'0 HBtrt^i? 183
What would he have ? He holds you — you,
both form
And mind, in his, — where self-love makes
such room
For love of you, he would not serve you now
The vulgar way, — repulse your enemies.
Win you new realms, or best, to save the old 335
Die blissfully — that *s past so long ago !
He wishes you no need, thought, care of him —
Your good, by any means, himself unseen.
Away, forgotten ! — He gives that life's task up.
As it were . . . but this charge which I return — 340
Offers the requisition^ which she takes.
Wishing your good.
Duch, (having subscribed it). And oppor-
tunely, sir —
Since at a birthday's close, like this of mine.
Good wishes gentle deeds reciprocate.
Most on a wedding-day, as mine is too.
Should gifts be thought of: yours comes first by
right. 345
Ask of me !
Berth. He shall have whate'er he asks.
For your sake and his own.
331-332 He holds . . . room. A reads :
He has yon — yoa, the form.
And you, the mind, where self-love made snch room.
335 to save the old. A, in saving you.
345 be thought of. A, go forward.
347 For your sake and his own. A, For his sake and for yours.
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1 84 Colombe'fi^ UBirt^Jai? [act v.
FaL {aside). If I should ask —
The withered bunch of flowers she wears —
perhaps,
One last touch of her hand, I nevermore
Shall see ! After a pause^ presenting his paper to
the Prince,
Cleves* Prince, redress the wrongs of Clcves ! 350
Berth. I will, sir !
Duch. (as Valence prepares to retire). — Nay,
do out your duty, first !
You bore this paper; I have registered
My answer to it : read it and have done !
Valence reads it.
I take him — give up Juliers and the world.
This is my Birthday.
Melch. Berthold, my one hero 355
Of the world she gives up, one friend worth my
books.
Sole man I think it pays the pains to watch, —
Speak, for I know you through your Popes and
Kings !
Berth, {after a pause). Lady, well rewarded !
Sir, as well deserved !
I could not imitate — I hardly envy — 360
I do admire you. All is for the best.
349-350 One last touch . . . Cleves. A reads :
One last touch of . . .
^fttr a faust^ frtstntini his faftr U tlu Prinet,
RedreM the wrongs of Clevet !
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scn^Ei] Colombe'0 UBirti^oa? 185
Too costly a flower were this, I see it now,
To pluck and set upon my barren helm
To wither — any garish plume will do.
I *11 not insult you and refuse your Duchy — 365
You can so well afFord to yield it me,
And I were left, without it, sadly lorn.
As it is — for me — if that will flatter you,
A somewhat wearier life seems to remain
Than I thought possible where . . . 'faith, their
life 370
Begins already ! They 're too occupied
To listen : and few words content me best.
(^Abruptly to the Courtiers.) I am your Duke,
though ! Who obey me here ?
Duch. Adolf and Sabyne follow us —
Guib, {starting from the Courtiers). — And I ?
Do I not follow them, if I may n't you ? 375
Shall not I get some little duties up
At Ravestein and emulate the rest ?
God save you, Gaucelme ! 'T is my Birthday,
too!
Berth. You happy handful that remain with
me
. . . That is, with Dietrich the black Barnabite38o
I shall leave over you — will earn your wages
Or Dietrich has forgot to ply his trade !
36a were this. A, were you. 363 tet. A, put.
^ 365 Duchy. A, rule. 367 lorn. A, off.
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1 86 Colombe'tf IBirt^Jai? [act v.
Meantime, — go copy me the precedents
Of every installation, proper styles
And pedigrees of all your Juliers' Dukes — 385
While I prepare to plod on my old way,
And somewhat wearily, I must confess !
Duch, (with a light joyous laugh as she turns
from them). Come, Valence, to our
friends, God's earth . . .
Val. {as she falls into his arms). — And thee !
386 plod. A, go.
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0ntt0 to CoIomde'jB! ^ixt^p
Colombt*s Birthday wm published in No. VI of Bells and Pome-
granates, It was written under the direct impulse given by the
admiration expressed for A Blot in the ^Scutcheon. It was not put
upon the stage until April 25, 1853, when Miss Helen Faucit
produced it at the Haymarket Theatre, London. The Athenaum
in its nodce of the play said :
" Its movements, for the most part, occur in the chambers of
the mind. Such themes . . . will fail of attention to all who in-
sist on the ordinary dramatic motion and action. To the worn-out
and wearied playgoer, who can turn for a moment out of the beaten
path, nothing could well be more delicious.**
The play was produced at the Howard Athenaeum, Boston,
Feb. 16, 1854, with Miss Jean Davenport as Colombe.
A performance wras given at St. George* s Hall, London, Nov.
19, 1895, under the auspices of the London Browning Society.
Miss A. Mary F. Robinson (afterward Mdm. Darmesteter) wrote
at that time :
<' Colombe* s Birthday is charming .on the boards, clearer, more
direct in action, more pictiuresque, more full of delicate surprises
than one imagines in print.**
85, 40. This to present. The first edition, to msure the
correct emphasb, italicizes ' this.* On the stage, the holcting up
of the missive before it is cast to the floor would bring out the
point.
86, 60. services ask recompense. The self-seeking
heardessness of Clugnet, who is willing to undertake the painful
task if anything is to be gained by it, is in good dramatic contrast
with the delicacy of Guibert and Maufroy.
87, 70-73 • So . . . time. Vivid as is this picture of the rafb
coming down the river Meuse in autumn, it has greater dramatic
value because it so clearly brings out the contrast between Colombe* s
condition as reigning Duchess and what may await her.
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1 88 ^otti
87, 84. Salic law. This excluded females from sorerei^ty.
87-88, 81-104. Where *s there ... be carried.
This speech of Gaucelme's serves excellently as an exposition of
the ntuation. It is less evidently in harmony with the character
of the speaker.
91, 163. pill and poll. An Elizabethan phrase signifying to
strip. Both words are in this sense used in the King James Bible :
Jacob pilled white stripes in his rods (Gen. xxx, 37) and men polled
(cut off) their hair (Ezek. zliv, 20).
94, 208-209. My horse . . . somebody. Gaucehne
shows his character and temper by boasting that his horse bespat-
tered the stranger and by declaring that the man looks like the
devil.
94, 220. Close ... on me. Adolph means to rush out to
grapple with Valence, and wishes the door closed behind him.
95> 235- no listener for their wrongs. '<I having
found here no one to hear and help.**
95-96, 243-245. Proud . . . wrongs. "Glad to remem-
ber your recklessness and levity, since this allows them to attribute
your indifference to forgetfiilness.**
XOI, 342. sursum corda. Guibert quotes this phrase from
the mass — '' lift up your hearts ** — in a cynical flout at himsdf
for yielding to the suggestion to make a cat*s-paw of Valence and
perhaps at his feeling of relief at having escaped the disagreeable
office himself.
Z03, 2. scarcely audience-hour. Sabyne, like Guibert,
endeavors to postpone the audience which will show how few are
assembled.
107-108, 88-94. Well, Heaven's gifts . . . she
turns. This passage is confused, and very likely intentionally so,
that it may indicate the confusion of Valence at sight of the Duchess.
Apparently its meaning is : < The people caught my gaze, they being
for the moment lifted to her level, and as they were hers, they
must henceforward be mine for her sake ; but who can say that I
could have made them mine fully had not her inspiration raised my
soul before she left them — to my thinking — to my care.* ThU
is of course a somewhat free paraphrase, but it seems to pvt the
spirit of the passage.
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i^tetf 189
109, 122. insuppressive, a rare Elizabethan word. Al-
though the scene is laid in the seventeenth century, Browning
makes very little effort to pve an archaic flavor by his diction.
114, 207. A lion crests him. A lion is the crest of his
coat-oNarms.
Z14, 223. Would not . . . worst of me. In allusion
to act i, 1. 363. Guibert defies Gaucelme, his enemy, to tell
BerthoM, when he comes, this protestation of devotion to the
Duchess.
zz5> 237. A nameless . . . eentleman. The quickness
with which the Duchess comes to the defense of Valence shows
that he has already made a deep impresdon upon her ; it is a touch
of femininity that she is not able really to forgive Guibert.
115, 240. Now . . . reckon with. This touch is ob-
viously to impress the audience with the self-respect and dignity of
Valence.
Z18, 287-292. Either . . . form. It would appear that
Guibert, Gaucelme, and Clugnet held the offices of Marshal, Chan-
cellor, and Chamberlain, and surrender their badges at 1. 294 j but
in act iv, 1. 37, etc., another courtier speaks as Chancellor.
XI 8, 302. Tho' . . . think. The audience is likely to
agree with him.
122, 4. Aix . . . Rome. Berthold*s ambition and hope b
to be Emperor of the so-called Roman Empire, and the cities named
represent so many steps toward the realization of his desire. The
Diet assembled at Frankfort-on-the-Main, there the emperor was
elected, and there, or at Aix-la-Chapelle, he received the crown
of Germany ; at Milan he was given the crown of Italy ; at Rome,
the crown of the whole Roman Empire.
123, 27-28. the other a poor priest : but now Pope.
The assumption on the part of the speaker of the knowledge which
is in the mind of his companion but has not been told on the
stage b likely to be confusing to the audience.
123, 33. day-dream . . . not mine. It cannot have
been much over a year mnce the death of the Duke, and apparently
it was not until just before his death that the existence of the con-
cealed heiress was known — at least to the courtiers. It is there-
fore not evident how Berthold should have recognized her claim
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190 i^t(0
when he ''was a boy,** although of course the words are not to
be taken literally. As the time in which he has, apparently at
least, known of her existence has been so short, his language has
a good deal the air of a slip on the part of the poet The only
explanation would be that the existence of Colombe was known,
but that her father had for some reason not apparent kept hex in
concealment.
125, 66-67. yesterday . . . day before. The time
is of course figurative. Seel. 133.
126, 76-92. Ah, . . . talk and talk. " Our dramatic
credulity b somewhat taxed in allowing [sic'\ Berthold an argument
and a soliloquy after the entrance of the courtiers before he makes
the slightest sign of observing their presence.** — Prof. Rolfe and
Miss Heney. It is possible that BroMming deliberately introduced
this effect to mark the contempt with which the Prince regards
the courtiers. Whether the passage vras so intended or not, it
could certainly be effectively so treated on the stage.
126,83-85. for . . . little aim. In this world, quantity 5
in the world to come, quality.
129,139-140. I tread . . . advocate I I come near to
matching lum in devotion to the cause of the Duchess. This,
like 11. 113, 1 14, is of course an aside.
130, 159-160. Were not . . . mind with. Admira-
tion for the daring of Colombe brings to mind the suggestion that
it might be well to make her his wife, and the thought of marriage
in turn rouses the reflection that he is done with love in fuling of
Priscilla, and may now match for policy.
132, 205. mine, you urge. What you say will be my
thought.
133, 210. Your frank indignation. The misunder-
standing here is excellent from a dramatic pomt of view, although
not handled with complete mastery of stagecraft. The hesitation
of the Duchess from reluctance to face Berthold and to submit to
the humiliation of giving up her power b believed by the Prince,
who u misled by the declaration of Guibert, to be a measure of
somewhat the same scorn he showed on the entrance of the cour-
tiers.
133, ^^^. Which . . . forgot. The relationship you ig-
nored in assuming the crown.
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iptotetf 191
Z35} ^61 • pillared flame was probaUy suggested by the
'< pillar of fire** of Exod. ziii, 21, and Numb, xiv, 14; but the
figure loses rather than gams by a recalling of the Biblical sign.
X37> ^^5* And now . . . simple knight again.
Out of the mood in which he apologized to Valence, Guibert is
stung by the ^vor with which the Duchess treats her new servant
and perhaps by the insinuations of the courtiers.
1389 298. Do you SO ? This bit of misconception on the
part of Clugnet, who supposes Guibert to hare asked die influence
of Valence to help him back to &yor, is meant of course to emphanze
the difierence between Valence and the ex-Chamberlain, but it is
probably too subtle to be readily effective on the stage.
143, I. this mine. Maufroy refers, of course, to the decla-
ration of Gaucelme, ui, 317.
146, 53. Selfish, friend. Gaucelme flatters to gam his end.
147, 68. I wonder you see that. *< Gaucekne and
Guibert are never willing to allow a virtue or a delicacy to each
other. This line has a scornful emphasis on you,** — Prof. Rolfe
and Miss Hersey.
I5Z» 150. He . . . next I An aside, like 1. 186.
X5^> 157* chrysoprase. Somewhat out of place in the im-
perial diadem, as chrysoprase stands in the second rank of precious
stones, but so splendid a specimen of its kind as to be too fine for
anything meaner than a crown. So Colombe, her claim being dis-
allowed, could not be Duchess in her ovm right, but was too noble
to be allowed to descend to conomon life.
IS3» '79- l*ow use Juliers* Dukes? What b the use
(custom) of Dukes in Juliers ?
153, 180. you have them here. Their statues decorate
the hall. That of Luitpold, the father of Colombe, is b bronze.
In his bewilderment at the turn affiurs have taken, Valence stands
as motionless as the statue (1. 186).
X55» 229-231. reality, tradition, fancy, and £act
make in the eyes of the world a '* mystic panoply *'* which even
witli no knight within it — " untenanted ** — is of force enough
to awe mankind. The idea is that kingship in itself inspires awe,
and this Berthold means to wear as an armor, out of which he can
at will slip to follow out his purposes. The passage is too indirect to
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be efiecdve on the stage, nor does it entirely commend itself at a
figure. It sarort too much of the conceit.
154-156, 208-251. He gathers . . . earthly world.
In the first form of the play this speech of Valence was of little more
than half its present length. Edmund Oosse in hb Ptrsonalia re-
cords that m a copy of this play marked by Browmng, " The stage
directions are numerous and minute. . . . Some of the suggestiont
are characteristic enough. For fautance, * unless a very good Va-
lence * is found, this extremely fine speech, perhaps the jewel of the
play, is to be left out.**
156, 242. his step or stalk. Whether he walks naturally
or s^dks in anger.
156, 245. Till . . . most power. The seeming obscur-
ity here is rather m the subtilty of the thought than in the expression.
The leader comes to stand for io much, his dependants so rest
upon what he represents as the '< typified inidncibittty ** of political
order that more than by his power are they moved by the fear lest
harm come to him ; hk weakness and the posnbility that he should
be in peril efiect more than even his power.
157, 264. for m^ father*s sake. She thanks Berthold
for ofraing her a marriage which will allow her to hold the place it
was her fiither*s wish that she have. Accepting him, she does not
take a hand in marriage which under the terms of her fiither*8 will
would degrade her rank.
157, 267-71. Had that been ... he asks. If the
Prince loved her it is so possible he might be subject to her will and
her deore for the good of the world under them — of which Cleves
was a part — that Valence would not dare to hope that she would
refuse him ; although he assumes that Colombe could not return
such lore, but must make the marriage only as a sacrifice.
Z c8, 273. What does he ? A beautifully human but subtle
touch. Colombe asserts that the deeds of the Prince prove his love $
Valence soses the idea that deeds which prove love must mvolve
sacrifice ; to have proposed marriage to Colombe cannot be looked
upon as self-denial ; and he mvoluntarily asks what Bertold has
done. Instantly, of course, he perceives the absurdity of his position,
and adds the second half of the line.
158, 276. Sorrow . . . dream. Absorbed in his passion.
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i^t« 193
Valence has unconsciously assumed that to Colombe as to him rank
and power are of little consequence in comparison to love, but now
it occurs to him that the Duchess may be more deeply grieved to
lose her place than he had realized.
158-159, 287-293. Because . . . may. Valence perhaps
here loses the sympathy of the reader a little. It is obviously his
duty to present the offer of Berthold without prejudice, and his insist-
ence upon the Duke*s lack of love, while we may attribute it to
his own passion, has the effect of self-interest. The weakness of
the passage is undoubtedly due to the poet*s lack of stagecraft, and
is an interesting example of the way in which he was hampered by
dramatic necesudes. He is so intent upon preparing for the love
scene which is to follow that he fails to appreciate the danger of
making his hero appear more weak and less noble than he has
thus hr been represented.
159, 302-303. Well ... in you? "The performance
of Mm Davenport was an excellent analysb of the play. In [this]
line • . . hex voice sank to the tone of plaintive bewilderment, it
being, * Well, what *s gone from me ? * spoken to herself ; then it
is raised as she turns directly to Valence, and says, * What have I
lost m you ? "* — Moncure D. Conway.
X 6x , 3 29. All done was done for her. There is an equi-
voque in the words of Valence. All done was done for the woman
I loved, not only what I did but the honor which was ^ven to my
humble self — * to me humble * — was for you, Duchess.
161, 332. Are there sweeter things. Colombe feels
that were she the other woman nothing could be sweeter than to
know that when Valence wras speaking at Cleves so that he moved
the Duchess he did all for the sake of her love. In no other scene
in Browning's plays is the favorite stage device of misconception —
equivoque — so effectively used as here. Its only drawback is that
it is in parts too subtle to be readily followed by an audience.
x6x, 340. above me and away. Above and away both
in a figurative sense.
163, 371. (Obey I) It is not always easy to follow the in-
tention of Browning's punctuation, espeasJUj in its inconsistencies.
A parenthesis is in general used for a remark meant to be an aside.
Here is shown an interpolation. After ''thinking it . . . '* Co-
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«94 iimi
lombe, perhaps carried away hj a leoae of all the thinks Vaknce
to be, breaks off sudden]^ \ then to cover her disturbance of mind,
she inteijects the command, << Obejr ! ** which would seem almost
to need to be given with some £unt shade of archness. The dra-
matic situation in reading seems to be iqjured by the words ** Then
kneel to her ! ** but delivered as a cofitbuatioii of the preceding
speech they would when spoken have their proper yalne wui efieCt.
165, 419. Yet . . . rival then 1 '* I remember well to
have seen a vast miscellaneous crowd in an American theatre hanging
with breathless attention upon every word of this interview, down
to the splendid climax where, in obedience to the Duchess's direc-
tion to Valence how he should reveal hb love to the lady she to
little suspects herself to be, he kneels, — every heart evidently feel-
ing each word as an electric touch, and all giving vent at last to
their emotion in round after round of hearty applause. Indeed, dur-
mg the entire performance I took oocanon, at passages that might
have been thought by some readers abstruse, to look around and see
if I could discover a flickering intelligence m any fiKe, but was con-
vinced that the whole vras thoroughly comprehended and felt by
the entire audience.** — Moncure D. Conway. This was written
in comment upon the performance in Boston, 1854.
X66| %• Amelius. Which he was studying. See iii, 71.
X66, 3. this erand disclosure. The decbu^tion to Va-
lence by Berthold of his willingness to marry Colombe.
166, 10. Let her commence. Berthold naturaDy supposes
that Colombe, if dethroned, will fUlow his own policy.
167, 19. The hour beneath the convent-walL The
effect of the repetition of the allusion to tlus episode b Berthdd*s
past is the opposite of what he would persuade himself. The Prince
would convince himself that he has cast sentiment aside, but to the
audience he gives the impression that a mind in which a lost love
could be so constantly present must be very hx from insensitive.
It makes more probable, also, his touch of sentiment at the close
of the play.
167, %%, Elude the adventure. Mdchior has more of the
Shakespearean touch than any other character in Browning's plays.
A scholar and not a man of action himself, he longs for that stren-
uousness in Berthold which he is fully aware can come into his
own studious life only vicariously. He was disappomted that Juliers
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i^etf 19s
seemed to be gained without a struggle (iii, 9) ; and he evidently
feels that Berthold would be more firmly established on a throne
which he had achieved by strength rather than completely by in-
trigue. His own life one of thought and shadows, Mdchior is by
reason and by instinct eager that the Prince shall be developed
through action, and he is not satisfied that Berthold shall show for
less emotional than he is by nature. Of course dramatically it is
Mdchior* s part here to emphasize Colombe*s coming demand for
love.
167, ft8. We seem . . ^ at end. This passage has been
commended, but it seems rather of the nineteenth century than the
seventeenth. The figure of the masque u m any case far too elab-
orate. Whether it b in keeping ynth the character of the speaker
each reader may decide for himself.
x6j), 61. Ill cannot speed — not I — the Emperor.
The mversioh is awkward, and is made doubly so by the extra
negative.
169,72. my true worth. That is, my rank. The cynicism
of Berthold here comes to a climax.
172, 117. Charlemagne, perhaps. '<! could perhaps
love a man who realized my dream of gloiy as did Charlemagne.**
177, 226-227. Yon marble . . . will let fall. It is
perhaps mteresting to compare these lines ^th the passage in the
poem which is so assodated with the first acquaintance of Robert
Browning and Elizabeth Barrett, Lady GeralSne*s CourtsAip ;
^* Whereby lies a marble Silence, ileeping I (Lough the sculptor wrought
her.)
So aaleep the it forgetting to tay Hiuh — a fimcy quaint.
Mark how heavy white her eydid* I not a dream between them lingers.
And the left hand*t index droppeth from the lip* upon the cheek ;
WhUe the right hand — with the symbol rote held slack between the
fingert —
Hat fallen backward in the basin. . . .
* Nay. your SUence,* taid I. ' truly holdt her tymbol rote but tlackly,
Yet the holdt it— or would tcarcely be a Silence to our ken.* **
Z84, 358. know you throug^h vour Popes and
Kingfs. Melchior calls upon the true manhood which he knows
to exist in Berthold. He pierces through the worldling the Prince
seem to be in his dealings with Popes and Kings.
185, 380. Dietridi the black Bamabite. A monk
of the order of St. Barnabas, and presumably one who will prove a
stem master.
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3|tt a 'Balcotit
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PERSONS.
NORBERT.
Constance.
The Queen.
Pertom, Not in A. The 1888 ed. is Mowed here.
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3Jn a "Balcont
1853
Constance and Norbert.
Norbert. Now !
Constance, Not now !
Norb. Give me them again, those hands :
Put them upon my forehead, how it throbs !
Press them before my eyes, the fire comes
through !
You cruellest, you dearest in the world.
Let me! The Queen must grant whatever I
ask-
How can I gain you and not ask the Queen i
There she stays waiting for me, here stand
you;
Some time or other this was to be asked ;
Now is the one time — what I ask, I gain :
Let me ask now. Love !
Const* Do, and ruin us.
Norb, Let it be now. Love! All my soul
breaks forth.
In A the play was di'^ded into three parts ; the words First
Part standing between the title and Constance and Norbert,
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200 3|n a IBaltons
How I do love you ! Give my love its way !
A man can have but one life and one death.
One heaven, one hell. Let me fulfil my fate —
Grant me my heaven now ! Let me know you
mine, 15
Prove you mine, write my name upon your brow.
Hold you and have you, and then die away.
If God please, with completion in my soul !
Const. I am not yours then ? How content
this man !
I am not his — who change into himself, 20
Have passed into his heart and beat its beats.
Who give my hands to him, my eyes, my hair.
Give all that was of me away to him —
So well, that now, my spirit turned his own.
Takes part with him against the woman here, 25
Bids him not stumble at so mere a straw
As caring that the world be cognizant
How he loves her and how she worships him.
You have this woman, not as yet that world.
Go on, I bid, nor stop to care for me 30
By saving what I cease to care about.
The courtly name and pride of circumstance —
The name you '11 pick up and be cumbered with
Just for the poor parade's sake, nothing more ;
Just that the world may slip from under you — 35
Just that the world may cry "So much for
him —
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3|n a IBaAconi? 201
'' The man predestined to the heap of crowns :
"There goes his chance of winning one, at
least ! "
Norb. The world !
Const. You love it. Love me quite as well.
And see if I shall pray for this in vain ! 40
Why must you ponder what it knows or thinks ?
Norb. You pray for — what, in vain ?
Const. Oh my heart's heart.
How I do love you, Norbert ! That is right :
But listen, or I take my hands away !
You say, " let it be now " : you would go now 45
And tell the Queen, perhaps six steps from us.
You love me — so you do, thank God !
Norb. Thank God!
Const. Yes, Norbert, — but you fain would
tell your love.
And, what succeeds the telling, ask of her
My hand. Now take this rose and look at it, 50
Listening to me. You are the minister.
The Queen's first favourite, nor without a cause.
To-night completes your wonderful year's-work
(This palace-feast is held to celebrate)
Made memorable by her life's success, 55
The junction of two crowns, on her sole head.
Her house had only dreamed of anciently :
That this mere dream is grown a stable truth.
To-night's feast makes authentic. Whose the
praise ?
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202 3111 a IBalcoin;
Whose genius, patience, enei^, achieved 60
What turned the many heads and broke the
hearts ?
You are the fate, your minute 's in the heaven.
Next comes the Queen's turn. '' Name your
own reward ! "
With leave to clench the past, chain the to-come.
Put out an ami and touch and take the sun 65
And fix it ever full-faced on your earth.
Possess yourself supremely of her life, —
You choose the single thing she will not grant ;
Nay, very declaration of which choice
Will turn the scale and neutralize your work : 70
At best she will forgive you, if she can.
You think I '11 let you choose — her cousin's
hand?
Norb, Wait. First, do you retain your old
belief
The Queen is generous, — nay, is just ?
Const. There, there !
So men make women love them, while they know 75
Nomoreof women's hearts than . . . look you
here.
You that are just and generous beside.
Make it your own case ! For example now,
I '11 say — I let you kiss me, hold my hands —
Why ? do you know why ? I '11 instruct you,
then — 80
69 Nay, 'very. A, The very.
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Bin a IBdeonc 203
The kiss, because you have a name at court ;
This hand and this, that you may shut in each
A jewel, if you please to pick up such.
That 's horrible ? Apply it to the Queen —
Suppose I am the Queen to whom you speak : 85
^^ I was a nameless man ; you needed me :
" Why did I proflfer you my aid ? there stood
" A certain pretty cousin at your side.
^^ Why did I make such common cause with you ?
'' Access to her had not been easy else. 90
" You give my labour here abundant praise ?
*' 'Faith, labour, which she overlooked, grew play. '
^^ How shall your gratitude discharge itself?
*' Give me her hand ! "
Norh, And still I urge the same.
Is the Queen just ? just — generous or no ! 95
Const. Yes, just. You love a rose ; no harm
in that :
But was it for the rose's sake or mine
You put it in your bosom ? mine, you said —
Then, mine you still must say or else be false.
You told the Queen you served her for herself; 100
If so, to serve her was to serve yourself.
She thinks, for all your unbelieving face !
I know her. In the hall, six steps from us.
One sees the twenty pictures ; there 's a life
Better than life, and yet no life at all. 105
91 labour. A, labours. 92 wiicA, A, while.
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204 3|n a IBaltoni!
Conceive her born in such a magic dome,
Pictures all round her ! why, she sees the world.
Can recognize its given things and facts.
The fight of giants or the feast of gods.
Sages in senate, beauties at the bath, no
Chases an4 battles, the whole earth's display.
Landscape and sea-piece, down to flowers and
fruit —
And who shall question that she knows them
all.
In better semblance than the things outside ?
Yet bring into the silent gallery 115
Some live thing to contrast in breath and blood.
Some lion, with the painted lion there —
You think she '11 understand composedly i
— Say, " that 's his fellow in the hunting-piece
'' Yonder, I 've turned to praise a hundred
times ? " i»o
Not so. Her knowledge of our actual earth.
Its hopes and fears, concerns and sympathies.
Must be too far, too mediate, too unreal.
The real exists for us outside, not her :
How should it, with that life in these four
walls — i»5
That father and that mother, first to last
No father anid no mother -— friends, a heap.
Lovers, no lack — a husband in due time,
And every one of them alike a lie !
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Things painted by a Rubens out of nought 130
Into what kindness, friendship, love should be ;
All better, all more grandiose than the life.
Only no life ; mere cloth and surface-paint.
You feel, while you admire. How should she
feel?
Yet now that she has stood thus fifty years 135
The sole spectator in that gallery.
You think to bring this warm real struggling
love
In to her of a sudden, and suppose
She '11 keep her state untroubled ? Here 's the
truth —
She '11 apprehend truth's value at a glance, 140
Prefer it to the pictured loyalty ?
You only have to say, '' so men are made,
^^ For this they act ; the thing has many names,
'' But this the right one : and now. Queen, be
just ! "
Your life slips back ; you lose her at the word : 145
You do not even for amends gain me.
He will not understand 5 oh, Norbert, Norbert,
Do you not understand ?
Norb. The Queen 's the Queen :
I am myself — no picture, but alive
In every nerve and every muscle, here 150
132 than the life. A, than life. 135 Tet. A, And.
140 truth* s 'value. A, its value. 145 Tour life. A, And life.
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At the palace-window o*er the people's street.
As she in the gallery where the pictures glow :
The good of life is precious to us both.
She cannot love ; what do I want with rule ?
When first I saw your face a year ago 155
I knew my life's good, my soul heard one
voice —
'' The woman yonder, there 's no use of life
^^ But just to obtain her ! heap earth's woes in
one
" And bear them — make a pile of all earth's
joys
" And spurn them, as they help or help not this ; 160
" Only, obtain her ! " How was it to be ?
I found you were the cousin of the Queen ;
I must then serve the Queen to get to you.
No other way. Suppose there had been one.
And I, by saying prayers to some white star 165
With promise of my body and my soul.
Might gain you, — should I pray the star or no ?
Instead, there was the Queen to serve ! I served.
Helped, did what other servants failed to do.
Neither she sought nor I declared my end. 170
Her good is hers, my recompense be mine, —
I therefore name you as that recompense.
151 o^er the. A, or in the. 1 60 thh. A, here. 162 you
lucre. A, she was. 163 you. A, her. 169 Helped, Md.
Af And did. 172 J therefore name. A, And let me name.
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3ln a IBaltoni; 207
She dreamed that such a thing could never be ?
Let her wake now. She thinks there was more
cause
In love of power, high fame, pure loyalty ? 175
Perhaps she fancies men wear out their lives
Chasing such shades. Then, I 've a fancy too ;
I worked because I want you with my soul :
I therefore ask your hand. Let it be now !
Const. Had I not loved you from the very
first, 180
Were I not yours, could we not steal out thus
So wickedly, so wildly, and so well.
You might become impatient. What *s conceived
Of us without here, by the folk within ?
Where are you now ? immersed in cares of
state — 185
Where am I now ? intent on festal robes —
We two, embracing under death's spread hand !
What was this thought for, what that scruple of
yours
Which broke the council up ? — to bring about
One minute's meeting in the corridor ! 190
And then the sudden sleights, strange secrecies,
Complots inscrutable, deep telegraphs,
174 more cause. A, some cause. 175 high fame. A, of £une.
l%l become. A, be thus. iS^foik. A, folks.
188 that scruple. A, this scruple.
191 strange secrecies. A, long secrecies.
192 Complots. A, The plots.
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Long-planned chance-meetings, hazards of a
look,
" Does she know ? does she not know ? saved
or lost?"
A year of this compression's ecstasy 195
All goes for nothing ! you would give this up
For the old way, the open way, the world's.
His way who beats, and his who sells his wife !
What tempts you ? — their notorious happiness
Makes you ashamed of ours ? The best you *11
gain ftoo
Will be — the Queen grants all that you require.
Concedes the cousin, rids herself of you
And me at once, and gives us ample leave
To live like our five hundred happy friends.
The world will show us with officious hand 205
Our chamber-entry, and stand sentinel
Where we so oft have stolen across its traps !
Get the world's warrant, ring the falcons' feet.
And make it duty to be bold and swift.
Which long ago was nature. Have it so ! »io
We never hawked by rights till flung from fist ?
Oh, the man's thought ! no woman 's such a
fool.
200 Maketyou. A, That you 're. you ^11 gain. A, you *11 get.
ao2 rids herulf of you. A, and gets rid of you.
203 And me. A, And her. 204 like. A, as.
207 its traps. A, her traps. 2x3% falcons* feet. A, falcon's foot.
210 Which long ago was nature. A, When long ago *t was
nature. 211 ff^e. A, He.
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3nn a IBaltoni! 209
Norh. Yes, the man's thought and my thought,
which is more —
One made to love you, let the world take note !
Have I done worthy work ? be love's the praise, 215
Though hampered by restrictions, barred against
By set forms, blinded by forced secrecies !
Set free my love, and see what love can do
Shown in my life — what work will spring from
that !
The world is used to have its business done 220
On other grounds, find great effects produced
For power's sake, fame's sake, motives in men's
mouth.
So, good : but let my low ground shame their
high!
Truth is the strong thing. Let man's life be
true !
And love 's the truth of mine. Time prove the
rest ! 225
I choose to wear you stamped all over me.
Your name upon my forehead and my breast,
You, from the sword's blade to the ribbon's
edge.
That men may see, all over, you in me —
That pale loves may die out of their pretence 230
In face of mine, shames thrown on love fall off.
218 can do. A, will do. 222 motives in men's mouth.
Af motives you haye named. 226 to wear. A, to haye.
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Permit this, Constance ! Love has been so long
Subdued in me, eating me through and through,
That now 't is all of me and must have way.
Think of my work, that chaos of intrigues, 235
Those hopes and fears, surprises and delays.
That long endeavour, earnest, patient, slow.
Trembling at last to its assured result :
Then think of this revulsion ! I resume
Life after death, (it is no less than life, 240
After such long unlovely labouring days)
And liberate to beauty life's great need
O* the beautiful, which, while it prompted work.
Suppressed itself erewhile. This eve 's the time.
This eve intense with yon first trembling star »45
We seem to pant and reach; scarce aught
between
The earth that rises and the heaven that bends ;
All nature self-abandoned, every tree
Flung as it will, pursuing its own thoughts
And fixed so, every flower and every weed, 250
No pride, no shame, no victory, no defeat ;
All under God, each measured by itself.
These statues round us stand abrupt, distinct.
The strong in strength, the weak in weakness
fixed,
The Muse for ever wedded to her lyre, 255
234 *tis. A, it's. 243 0' /itf. A, Of the.
253 stand abrupt. A, each abrupt.
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3|n a IBalcotic 211
Nymph to her fawn, and Silence to her rose :
See God's approval on his universe !
Let us do so — aspire to live as these
In harmony with truth, ourselves being true !
Take the first way, and let the second come ! 260
My first is to possess myself of you ;
The music sets the march-step — forward, then !
And there *s the Queen, I go to claim you of.
The world to witness, wonder and applaud.
Our flower of life breaks open. No delay ! 265
Const. And so shall we be ruined, both of us.
Norbert, I know her to the skin and bone :
You do not know Tier, were not born to it^
To feel what she can see or cannot see.
Love, she is generous, — ay, despite your smile, 270
Generous as you are : for, in that thin frame
Pain-twisted, punctured through and through
with cares.
There lived a lavish soul until it starved.
Debarred of healthy food. Look to the soul —
Pity that, stoop to that, ere you begin 275
(The true man*s-way) on justice and your rights,
Exactions and acquittance of the past !
Begin so — see what justice she will deal !
We women hate a debt as men a gift.
Suppose her some poor keeper of a school %io
256 Nymph, A, The nymph, and. A, the.
257 Sec, A, And. 274 of. A, all.
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212 3(|n 8 IBalcon?
Whose business is to sit thro' summer months
And dole out children leave to go and play.
Herself superior to such lightness — she
In the arm-chair's state and pedagogic pomp —
To the life, the laughter, sun and youth outside : 285
We wonder such a face looks black on us ?
I do not bid you wake her tenderness,
(That were vain truly — none is left to wake)
But let her think her justice is engaged
To take the shape of tenderness, and mark 290
If she '11 not coldly pay its warmest debt !
Does she love me, I ask you ? not a whit :
Yet, thinking that her justice was engaged
To help a kinswoman, she took me up —
Did more on that bare ground than other loves 295
Would do on greater argument. For me,
I have no equivalent of such cold kind
To pay her with, but love alone to give
If I give anything. I give her love :
I feel I ought to help her, and I will. 300
So, for her sake, as yours, I tell you twice
That women hate a debt as men a gift.
If I were you, I could obtain this grace —
Could lay the whole I did to love's account,
282 children. A, children*!. 286 a face. A, an one.
291 pay its loarmest debt. A, do its warmest deed.
297 sucA. A, that. 298 but love. A, my k>ye.
304 Could lay. A, Would lay.
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Nor yet be very false as courtiers go — 305
Declaring my success was recompense ;
It would be so, in fact : what were it else ?
And then, once loose her generosity, —
Oh, how I see it ! — then, were I but you.
To turn it, let it seem to move itself, 3>o
And make it offer what I really take.
Accepting just, in the poor cousin's hand.
Her value as the next thing to the Queen's —
Since none love Queens directly, none dare that.
And a thing's shadow or a name's mere echo 315
Suffices those who miss the name and thing !
You pick up just a ribbon she has worn.
To keep in proof how near her breath you came.
Say, I 'm so near I seem a piece of her —
Ask for me that way — (oh, you understand) 3*0
You 'd find the same gift yielded with a grace.
Which, if you make the least show to extort . . .
— You'll see ! and when you have ruined both
of us.
Dissertate on the Queen's ingratitude !
Norb. Then, if I turn it that way, you con-
sent ? 3*5
306 Declaring, A, Declare that. 308 loou. A, loosed.
309 OAf how I see it / A, As you will maik it — .
311 offer what. A, give the thing. 311 just. A, so.*
313 Her, A, All. ^ueen*s. A, Queen.
314 love Slueens, AyJbves her. dare^ A, dares.
315 jinJ . , , echo. A, A shadow of a thing, a name's mere
echo. 321 You *d. A, And.
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'T is not my way ; I have more hope in truth :
Still, if you won't have truth — why, this indeed,
Were scarcely false, as I *d express the sense.
Will you remain here ?
Const. O best heart of mine.
How I have loved you ! then, you take my way ? 330
Are mine as you have been her minister,
Work out my thought, give it effect for me.
Paint plain my poor conceit and make it serve ?
I owe that withered woman everything —
Life, fortune, you, remember ! Take my part — 335
Help me to pay her ! Stand upon your rights ?
You, with my rose, my hands, my heart on you ?
Your rights are mine — you have no rights but
mine.
Norb. Remain here. How you know me !
Const. Ah, but still
He breaks from her: she remains.
Dance-music from within.
Enter the ^een.
^een. Constance ? She is here as he said.
Speak quick ! 340
Is it so ? Is it true or false ? One word !
Const. True.
328 as I'd. A, rn«o.
He . , . ^within. A places Second Part between this and Enter
tie Slueen. 340 Speak quick ! A, Speak ! Quick !
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^een. Mercifullest Mother, thanks to
thee!
Const. Madam?
^een. I love you, Constance, from my
soul.
Now say once more, with any words you will,
'T is true, all true, as true as that I speak. 345
Const. Why should you doubt it ?
^een. Ah, why doubt ? why doubt ?
Dear, make me see it ! Do you see it so ?
None see themselves ; another sees them best.
You say " why doubt it ? " — you see him and
me.
It is because the Mother has such grace 350
That if we had but faith — wherein we fail —
Whatever we yearn for would be granted us ;
Yet still we let our whims prescribe despair.
Our fancies thwart and cramp our will and
power.
And while, accepting life, abjure its use. 355
Constance, I had abjured the hope of love
And being loved, as truly as yon palm
The hope of seeing Egypt from that plot.
Const. Heaven!
353 Tet still. A, Howbeit. i$^ Our fancies. A, Our very
fancies, our will and power. A, our will. 355 And while
. . . use. A, And so accq>ting life, abjure ourselves. 357 And
being. A, And of being. 358 plot. A, turf.
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2i6 3f|n a IBatcone
^een. But it was so, Constance, it was so !
Men say — or do men say it ? fancies say — 3^
" Stop here, your life is set, you are grown old.
" Too late — no love for you, too late for love —
" Leave love to girls. Be queen : let Constance
love."
One takes the hint — half meets it like a child.
Ashamed at any feelings that oppose. 365
*' Oh love, true, never think of love again !
" I am a queen : I rule, not love forsooth."
So it goes on ; so a face grows like this.
Hair like this hair, poor arms as lean as these.
Till, — nay, it does not end so, I thank God ! 370
Const. I cannot understand —
^een. The happier you !
Constance, I know not how it is with men :
For women (I am a woman now like you)
There is no good of life but love — but love !
What else looks good, is some shade flung from
love; 375
Love gilds it, gives it worth. Be warned by me.
Never you cheat yourself one instant ! Love,
Give love, ask only love, and leave the rest !
O Constance, how I love you !
Const, I love you.
^een. I do believe that all is come through
you. 380
367 forsooth. A, indeed.
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3|n a Balcoit? 217
I took you to my heart to keep it warm
When the last chance of love seemed dead in
me;
I thought your fresh youth warmed my withered
heart.
Oh, I am very old now, am I not ?
Not so ! it is true and it shall be true ! 385
Const. Tell it me : let me judge if true or
false.
^een. Ah, but I fear you ! you will look at
me
And say, " she *s old, she 's grown unlovely
quite
" Who ne'er was beauteous : men want beauty
still."
Well, so I feared — the curse ! so I felt sure ! 390
Const. Be calm. And now you feel not sure,
you say ?
^een. Constance, he came, — the coming
was not strange —
Do not I stand and see men come and go ?
I turned a half-look from my pedestal
Where I grow marble — '* one young man the
more ! 395
^^ He will love some one ; that is nought to me :
" What would he with my marble stateliness ? "
Yet this seemed somewhat worse than heretofore ;
The man more gracious, youthful, like a god,
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And I still older, with less flesh to change — 400
We two those dear extremes that long to touch.
It seemed still harder when he first began
To labour at those state-afiairs, absorbed
The old way for the old end — interest.
Oh, to live with a thousand beating hearts 405
Around you, swift eyes, serviceable hands.
Professing they 've no care but for your cause.
Thought but to help you, love but for your-
self, —
And you the marble statue all the time
They praise and point at as preferred to life, 410
Yet leave for the first breathing woman's smile.
First dancer's, gipsy's or street baladine's !
Why, how I have ground my teeth to hear men's
speech
Stifled for fear it should alarm my ear,
Their gait subdued lest step should startle me, 415
Their eyes declined, such queendom to respect.
Their hands alert, such treasure to preserve.
While not a man of them broke rank and spoke,
Wrote me a vulgar letter all of love.
Or caught my hand and pressed it like a hand ! 410
There have been moments, if the sentinel ,
Lowering his halbert to salute the queen.
Had flung it brutally and clasped my knees,
403 To labour . . . absorbed. A, Absorbed to labour at the
ttate-affiuTB. 41 1 'woman's smile. A, woman's cheek.
418 of them. A, of these. 419 H^rou, A, Or wrote.
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I would have stooped and kissed him with my
soul.
ConsU Who could have comprehended ?
^ueen. Ay, who — who ? 4*5
Why, no one, Constance, but this one who did.
Not they, not you, not I. Even now perhaps
It comes too late — would you but tell the truth.
Const. I wait to tell it.
^een. Well, you see, he came,
Outfaced the others, did a work this year 430
Exceeds in value all was ever done.
You know — it is not I who say it — all
Say it. And so (a second pang and worse)
I grew aware not only of what he did.
But why so wondrously. Oh, never work 435
Like his was done for work's ignoble sake —
Souls need a finer aim to light and lure !
I felt, I saw, he loved — loved somebody.
And Constance, my dear Constance, do you
know,
I did believe this while 't was you he loved. 440
Const. Me, madam ?
^een. It did seem to me, your face
Met him where'er he looked : and whom but you
Was such a man to love ? It seemed to me,
You saw he loved you, and approved his love,
437 Souls need . . . lure. A, It must have finer aims to spur it
on. 444 Ais love. A, the love.
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And both of you were in intelligence. 445
You could not loiter in that garden, step
Into this balcony, but I straight was stung
And forced to understand. It seemed so true,
So right, so beautiful, so like you both.
That all this work should have been done by him 450
Not for the vulgar hope of recompense.
But that at last — suppose, some night like
this —
Borne on to claim his due reward of me.
He might say " Give her hand and pay me so."
And I (O Constance, you shall love me now !) 455
I thought, surmounting all the bitterness,
— " And he shall have it. I will make her blest,
" My flower of youth, my woman's self that was,
"My happiest woman's self that might have
been!
'' These two shall have their joy and leave me
here." 460
Yes — yes !
Const. Thanks !
^een. And the word was on my lips
When he burst in upon me. I looked to hear
A mere calm statement of his just desire
For payment of his labour. When — O heaven,
How can I tell you ? lightning on my eyes 465
445 And both of you. A, And that you both. 44.6 thai.
Ay the. 465 lightning. A, cloud was.
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And thunder in my ears proved that first word
Which told 't was love of me, of me, did all —
He loved me — from the first step to the last,
Loved me !
Const. You hardly saw, scarce heard him
speak
Of love : what if you should mistake ?
^een. No, no — 470
No mistake ! Ha, there shall be no mistake !
He had not dared to hint the love he felt —
You were my reflex — (how I understood !)
He said you were the ribbon I had worn.
He kissed my hand, he looked into my eyes, 475
And love, love came at end of every phrase.
Love is begun ; this much is come to pass :
The rest is easy. Constance, I am yours !
I will learn, I will place my life on you.
Teach me but how to keep what I have won ! 480
Am I so old ? This hair was early grey ;
But joy ere now has brought hair brown again.
And joy will bring the cheek's red back, I feel.
I could sing once too ; that was in my youth.
Still, when men paint me, they declare me . . .
yes, 485
Beautiful — for the last French painter did !
466 frwtd that. A, at that. 469 Tou hareUy . . . sfeak.
A, You did not hear . . . you thought he spoke. 476 came at
end. A, was the end. 480 Teach me but. A, But teach me.
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I know they flatter somewhat ; you are frank —
I trust you. How I loved you from the first !
Some queens would hardly seek a cousin out
And set her by their side to take the eye : 490
I must have felt that good would come from you.
I am not generous — like him — like you !
But he is not your lover after all :
It was not you he looked at. Saw you him ?
You have not been mistaking words or looks ? 495
He said you were the reflex of myself.
And yet he is not such a paragon
To you, to younger women who may choose
Among a thousand Norberts. Speak the truth !
You know you never named his name to me : 500
You know, I cannot give him up — ah God,
Not up now, even to you !
Const. Then calm yourself.
^een. See, I am old — look here, you happy
girl!
I will not play the fool, deceive — ah, whom ?
'T is all gone : put your cheek beside my cheek 505
And what a contrast does the moon behold !
But then I set my life ^pon one chance,
Thfe last chance and the best — am / not left.
My soul, myself? All women love great men
If young or old; it is in all the tales : 510
Young beauties love old poets who can love —
504 oAf lohom. A, myself. 506 And what. A, Ah, what.
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In a IBalconi; 223
Why should not he, the poems in my soul.
The passionate faith, the pride of sacrifice.
Life-long, death-long ? I throw them at his feet.
Who cares to see the fountain's very shape, 515
Whether it be a Triton's or a Nymph's
That pours the foam, makes rainbows all around ?
You could not praise indeed the empty conch ;
But I '11 pour floods of love and hide myself.
How I will love him ! Cannot men love love ? 510
Who was a queen and loved a poet once
Humpbacked, a dwarf? ah, women can do that !
Well, but men too ; at least, they tell you so.
They love so many women in their youth.
And even in age they all love whom they please ; 515
And yet the best of them confide to friends
That 't is not beauty makes the lasting love —
They spend a day with such and tire the next :
They like soul, — well then, they like phantasy,
Novelty even. Let us confess the truth, 530
Horrible though it be, that prejudice.
Prescription . . . curses ! they will love a queen.
They will, they do : and will not, does not —
he?
Const. How can he ? You are wedded : 't is
a name
513-514 The passionate . . . death-long Areadi:
The love, the paMionate fidth, the sacrifice.
The constancy f
516 ffhether. A, And whether.
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We know, but still a bond. Your rank remains, 535
His rank remains. How can he, nobly souled
As you believe and I incline to think.
Aspire to be your favourite, shame and all ?
^een. Hear her! There, there now — could
she love like me ?
What did I say of smooth-cheeked youth and
grace ? 540
See all it does or could do ! so youth loves !
Oh, tell him, Constance, you could never do
What I will — you, it was not born in ! I
Will drive these difficulties far and fast
As yonder mists curdling before the moon. 545
I *11 use my light too, gloriously retrieve
My youth from its enforced calamity.
Dissolve that hateful marriage, and be his,
His own in the eyes alike of God and man.
Const. You will do — dare do . . . pause on
what you say ! 550
^een. Hear her! I thank you, sweet, for
that surprise.
You have the fair face ; for the soul, see mine !
I have the strong soul : let me teach you, here.
I think I have borne enough and long enough.
And patiently enough, the world remarks, 555
To have my own way now, unblamed by all.
It does so happen (I rejoice for it)
This most unhoped-for issue cuts the knot.
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3|n a IBalconi; 225
There *s not a better way of settling claims
Than this ; God sends the accident express : 560
And were it for my subjects' good, no more,
'T were best thus ordered. I am thankful now,
Mute, passive, acquiescent. I receive,
And bless God simply, or should almost fear
To walk so smoothly to my ends at last. 5^5
Why, how I baffle obstacles, spurn fate !
How strong I am ! Could Norbert see me now !
Const. Let me consider. It is all too strange.
^een. You, Constance, learn of me ; do you,
like me !
You arc young, beautiful : my own, best girl, 57©
You will have many lovers, and love one —
Light hair, not hair like Norbert's, to suit yours :
Taller than he is, since yourself arc tall.
Love him, like me ! Give all away to him ;
Think never of yourself; throw by your pride, 575
Hope, fear, — your own good as you saw it
once.
And love him simply for his very self.
Remember, I (and what am I to you ?)
Would give up all for one, leave throne, lose
life.
Do all but just unlove him ! He loves me. 580
Const. He shall.
^een. You, step inside my inmost heart !
573 Taller, A, And taller, ttnce yourself . A, for you.
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226 JfiauHSOcmt
Give me your own heart : let us have one heart !
I '11 come to you for counsel ; ^ this he says,
^ This he does ; what should this amount to,
pray?
** Beseech you, change it into current coin ! 585
^^Is that worth kisses? Shall I please him
there?"
And then we'll speak in turn of you — what
else ?
Your love, according to your beauty's worth,
For you shall have some noble love, all gold :
Whom choose you ? we will get him at your
choice. 590
— Constance, I leave you. Just a minute since,
I felt as I must die or be alone
Breathing my soul into an ear like yours :
Now, I would face the worid with my new life.
Wear my new crown.. I'll walk around the
rooms, 595
And then come back and tell you how it feels.
How soon a smile of God can change the world !
How we are made for happiness — how work
Grows play, adversity a winning fight !
True, I have lost so many years : what then ? 600
Many remain : God has been very good.
You, stay here ! 'T is as different from dreams.
From the mind's cold calm estimate of bliss,
598 are made. A, are all made.
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3|ii a IBalcons 227
As these stone statues from the flesh and blood.
The comfort thou hast caused mankind, God's
moon ! 605
She gois outy leaving Constance, Dance-
music from within.
Norbert enters.
Norb. Well ? we have but one minute and
one word !
Const. I am yours, Norbert !
Norb. Yes, mine.
Const. Not till now!
You were mine. Now I give myself to you.
Norb. Constance?
Const. Your own ! I know the thriftier
way
Of giving — haply, *t is the wiser way. 610
Meaning to give a treasure, I might dole
Coin after coin out (each, as that were all,
With a new largess still at each despair)
And force you keep in sight the deed, pre-
serve
Exhaustless till the end my part and yours, 615
My giving and your taking ; both our joys
Dying together. Is it the wiser way ?
I choose the simpler ; I give all at once.
She . . . within. In A, Part Third is placed between this and
Norbert enters. 614 preterite. A, rcsenre.
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228 ^ a IBaltotii;
Know what you have to trust to, trade upon !
Use it, abuse it, — anything but think 620
Hereafter, ** Had I known she loved me so,
" And what my means, I might have thriven with
it."
This is your means. I give you all myself.
Nbrb. I take you and thank God.
Const, Look on through years !
We cannot kiss, a second day like this ; 625
Else were this earth no earth.
Norb. With this day's heat
We shall go on through years of cold.
Const, So, best !
— I try to see those years — I think I see.
You walk quick and new warmth comes ; you
look back
And lay all to the first glow — not sit down 630
Forever brooding on a day like this
While seeing embers whiten and love die.
Yes, love lives best in its eiFect ; and mine.
Full in its own life, yearns to live in yours.
Norb. Just so. I take and know you all at
once. 635
Your soul is disengaged so easily.
Your face is there, I know you j give me time.
Let me be proud and think you shall know me.
My soul is slower : in a life I roll
620 tAink, A, lay. 632 seeing embers. A, teeing the emben.
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3|n a HBalconi; 229
The minute out whereto you condense yours — 640
The whole slow circle round you I must move,
To be just you. I look to a long life
To decompose this minute, prove its worth.
*T is the sparks* long succession one by one
Shall show you, in the end, what fire was crammed 645
In that mere stone you struck : how could you
know.
If it lay ever unproved in your sight.
As now my heart lies ? your own warmth would
hide
Its coldness, were it cold.
Const. But how prove, how ?
Norb. Prove in my life, you ask ?
Const, Quick, Norbert — how ? 650
Norb. That *s easy told. I count life just a
stuiF
To try the soul's strength on, educe the man.
Who keeps one end in view makes all things
serve.
As with the body — he who hurls a lance
Or heaps up stone on stone, shows strength alike : 655
So must I seize and task all means to prove
And show this soul of mine, you crown as yours.
And justify us both.
Const. Could ypu write books,
640 vfhertto. A, in which. 646 how could you know,
A, you could OjDt )Lno>sr. 656 i^utf /. A, \ will, task. A, use.
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230 3|ii a IBaltoni?
Paint pictures ! One sits down in poverty
And writes or paints, with pity for the rich. 660
Norb. And loves one's painting and one's writ-
ing, then,
And not one's mistress ! All is best, believe.
And we best as no other than we are.
We live, and they experiment on life —
Those poets, painters, all who stand aloof 66s
To overlook the farther. Let us be
The thing they look at ! I might take your face
And write of it and paint it — to what end ?
For whom ? what pale dictatress in the air
Feeds, smiling sadly, her fine ghost-like form 670
With earth's real blood and breath, the beaute-
ous life
She makes despised for ever ? You are mine.
Made for me, not for others in the world,
Nor yet for that which I should call my art.
The cold calm power to see how fair you look. 675
I come to you ; I leave you not, to write
Or paint. You are, I am : let Rubens there
Paint us !
Const. So, best !
Norb. I understand your soul.
You live, and rightly sympathize with life.
With action, power, success. This way is
straight ; 680
66x theti. A, too. 667 ywrface. A, that face.
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In a lIBatmit; 231
And time were short beside, to let me change
The craft my childhood learnt : my craft shall
serve.
Men set me here to subjugate, enclose,
Manure their barren lives, and force thence fruit
First for themselves, and afterward for me 685
In the due tithe ; the task of some one soul.
Through ways of work appointed by the world.
I am not bid create — men see no star
Transfiguring my brow to warrant that —
But find and bind and bring to bear their wills. 690
So I began : to-night sees how I end.
What if it see, too, power's first outbreak here
Amid the warmth, surprise and sympathy.
And instincts of the heart that teach the head ?
What if the people have discerned at length 695
The dawn of the next nature, novel brain
Whose will they venture in the place of theirs.
Whose work, they trust, shall find them as novel
ways
To untried heights which yet he only sees ?
I felt it when you kissed me. See this Queen, 700
681 time. A, da]r>. 684 thence. A, the. 687 Through,
A, By. the world. A, themselves. (t%% men. A, they. 6^ But
find . . . Hvilli, A, But bind in one and carry out their wills.
69a ponver^s. A, my. 695 at length. A, in me. 696 novel
brain. A, the new man. 698-699 fFhose work , , , heights,
A reads:
And whom ther trust to find them out new ways
To the new heights.
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232 3ln a HBaltoni;
This people —^ in our phrase, this mass of men —
See how the mass lies passive to my hand
Now that my hand is plastic, with you by
To make the muscles iron ! Oh, an end
Shall crown this issue as this crowns the first ! 705
My will be on this people ! then, the strain.
The grappling of the potter with his clay.
The long uncertain struggle, — the success
And consummation of the spirit-work.
Some vase shaped to the curl of the god's lip, 710
While rounded fair for human sense to see
The Graces in a dance men recognize
With turbulent applause and laughs of heart !
So triumph ever shall renew itself;
Ever shall end in efforts higher yet, 7,^
Ever begin . . •
Const 1 ever helping ?
Norb. Thus!
jfs he embraces her^ the ^een enters.
Const. Hist, madam ! So have I performed my
part.
You see your gratitude's true decency,
Norbert ? A little slow in seeing it !
703 Now that. A, And how. with you. A, and you.
709-710 And consummation . . . vase, A reads :
In that uprising of the tpirit-vork
The Twe, etc.
71 X human sense. A, lower men. 712 men. A, they.
T I $ shall. A, to. 716 begin. A, begun, ^l^ have I, A, I
have.
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3Rn a HBalcone 233
Begin, to end the sooner ! What *8 a kiss ? 720
Norb. Constance?
Const. Why, must I teach it you again ?
You want a witness to your dulness, sir ?
What was I saying these ten minutes long ?
Then I repeat — when some young handsome
man
Like you has acted out a part like yours, 725
Is pleased to fall in love with one beyond.
So very far beyond him, as he says —
So hopelessly in love that but to speak
Would prove him mad, — he thinks judiciously.
And makes some insignificant good soul, 730
Like me, his friend, adviser, confidant.
And very stalking-horse to cover him
In following after what he dares not face.
When his end 's gained — (sir, do you under-
stand ?)
When she, he dares not face, has loved him first, 735
— May I not say so, madam ? — tops his hope.
And overpasses so his wildest dream,
With glad consent of all, and most of her
The confidant who brought the same about —
Why, in the moment when such joy explodes, 740
I do hold that the merest gentleman
Will not start rudely from the stalking-horse,
733 At the end of this line A hasa dash, which would seem to
be correct. 741 hold. A, say.
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^34 3lii a W^ikjom
Dismiss it with a " There, enough of you ! ^*
Forget it, show his back unmannerly :
But like a liberal heart will rather turn 745
And say, ** A tingling time of hope was ours ;
*' Betwixt the fears and falterings, we two lived
^^ A chanceful time in waiting for the prize :
*' The confidant, the Constance, served not ill.
" And though I shall forget her in due time, 750
" Her use being answered now, as reason bids,
** Nay as herself bids from her heart of hearts, —
^^ Still, she has rights, the first thanks go to her,
^^ The first good praise goes to the prosperous
tool,
" And the first — which is the last — rewarding
kiss/' 755
Norb. Constance, it is a dream — ah, see, you
smile !
Const, So, now his part being properly per-
formed.
Madam, I turn to you and finish mine
As duly ; I do justice in my turn.
Yes, madam, he has loved you — long and well ; 760
He could not hope to tell you so — *t was I
Who served to prove your soul accessible,
I led his thoughts on, drew them to their place
When they had wandered else into despair,
755 rewarJif^. A, thankfiil.
764 ff^Aen they. A, When oft they, ilu. A, out.
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3Rn a IKeAconi; 235
And kept love constant toward its natural aim. 765
Enough, my part is played; you stoop half-
way
And meet us royally and spare our fears :
'T is like yourself. He thanks you, so do I.
Take him — with my full heart ! my work is
praised
By what comes of it. Be you happy, both ! 770
Yourself — the only one on earth who can —
Do all for him, much more than a mere heart
Which though warm is not useful in its warmth
As the silk vesture of a queen ! fold that
Around him gently, tenderly. For him — 775
For him, — he knows his own part !
Norb. Have you done ?
I take the jest at last. Should I speak now ?
Was yours the wager, Constance, foolish child ;
Or did you but accept it ? Well — at least
You lose by it.
Const, Nay, madam, 't is your turn ! 780
Restrain him still from speech a little more.
And make him happier as more confident !
Pity him, madam, he is timid yet !
Mark, Norbeit ! Do not shrink now ! Here I
yield
My whole right in you to the Queen, observe f 7*5
With her go put in practice the great schemes
782 as more. A, and more.
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236 3ltt a ^IBalcon?
You teem with, follow the career else closed —
Be all you cannot be except by her !
Behold her ! — Madam, say for pity*s sake
Anything — frankly say you love him ! Else 790
He '11 not believe it : there 's more earnest in
His fear than you conceive : I know the man !
Norb. I know the woman somewhat, and con-
fess
I thought she had jested better : she begins
To overcharge her part. I gravely wait 795
Your pleasure, madam : where is my reward ?
^een, Norbert, this wild girl (whom I recog-
nize
Scarce more than you do, in her fancy-fit.
Eccentric speech and variable mirth.
Not very wise perhaps and somewhat bold, 800
Yet suitable, the whole night's work being
strange)
— May still be right : I may do well to speak
And make authentic what appears a dream
To even myself. For, what she says, is true :
Yes, Norbert — what you spoke just now of love, 805
Devotion, stirred no novel sense in me.
But justified a warmth felt long before.
Yes, from the first — I loved you, I shall say :
Strange ! but I do grow stronger, now 't is said.
Your courage helps mine : you did well to speak 810
805 just. A, but.
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In a ilBalcon? 237
To-night, the night that crowns your twelve-
months' toil : *
But still I had not waited to discern
Your heart so long, believe me ! From the first
The source of so much zeal was almost plain.
In absence even of your own words just now 815
Which hazarded the truth. *T is very strange,
But takes a happy ending — in your love
Which mine meets : be it so ! as you chose me.
So I choose you.
Norb. And worthily you choose.
I will not be unworthy your esteem, 820
No, madam. I do love you ; I will meet
Your nature, now I know it. This was well :
I see, — you dare and you are justified :
But none had ventured such experiment.
Less versed than you in nobleness of heart, 8*5
Less confident of finding such in me.
I joy that thus you test me ere you grant
The dearest richest beauteousest and best
Of women to my arms : 't is like yourself.
So — back again into my part's set words — 830
Devotion to the uttermost is yours.
But no, you cannot, madam, even you.
Create in me the love our Constance does.
Or — something truer to the tragic phrase —
816 hassarded. A, opened out. 8i8 chose. A, choose.
826 suck. A, it. 827 joy. A, Hke.
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238 3f|n a WakMis
Not yon magnolia-bell superb with scent 835
Invites a certain insect — that *s myself —
But the small eye-flower nearer to the ground.
I take this lady.
Const. Stay — not hers, the trap —
Stay, Norbert — that mistake were worst of all !
He is too cunning, madam I It was I, 840
I, Norbert, who . . .
Norb. You, was it, Constance ? Then,
But for the grace of this divinest hour
Which gives me you, I might not pardon here !
I am the Queen's ; she only knows my brain :
She may experiment upon my heart 845
And I instruct her too by the result.
But you, sweet, you who know me, who so long
Have told my heart-beats over, held my life
In those white hands of yours, — it is not well !
Const. Tush ! I have said it, did I not say it
all ? 850
The life, for her — the heart-beats, for her sake !
Norb. Enough ! my cheek grows red, I think.
Your test ?
There 's not the meanest woman in the world.
Not she I least could love in all the world.
Whom, did she love me, had love proved itself, 8 55
I dare insult as you insult me now.
843 migkt not* A, should not. 845 upon my ktart. A, there-
fore on my heart. 855 had. A, did. frwed. A^ prove.
856 dare. A, dared.
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3ln 9 HBatonv 239
Constance, I could say, if it must be said,
** Take back the soul you offer, I keep mine ! "
But — '* Take the soul still quivering on your
hand,
*' The soul so offered, which I cannot use, 860
*' And, please you, give it to some playful friend,
a For — what *s the trifle he requites me with ? "
I, tempt a woman, to amuse a man.
That two may mock her heart if it succumb ?
No : fearing God and standing 'neath his heaven, 865
I would not dare insult a woman so.
Were she the meanest woman in the world,
And he, I cared to please, ten emperors !
Const. Norbert!
Norb. I love once as I live but once.
What case is this to think or talk about ? 870
I love you. Would it mend the case at all
If such a step as this killed love in me ?
Your part were done : account to God for it !
But mine — could murdered love get up again.
And kneel to whom you please to designate, 875
And make you mirth ? It is too horrible.
You did not know this, Constance ? now you
know
That body and soul have each one life, but one :
And here 's my love, here, living, at your feet.
861 playful friend. A, friend of mine.
872 If. A, Should, tilled. A, km.
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240 3|n a IBalcon?
Const. See the Queen! Norbert — this one
more last word — 880
If thus you have taken jest for earnest — thus
Loved me in earnest . . .
Norb. Ah, no jest holds here !
Where is the laughter in which jests break up,
And what this horror that grows palpable ?
Madam — why grasp you thus the balcony 7 885
Have I done ill ? Have I not spoken truth ?
How could I other ? Was it not your test.
To try me, what my love for Constance meant ?
Madam, your royal soul itself approves,
The first, that I should choose thus! so one
takes 890
A beggar, — asks him, what would buy his
child?
And then approves the expected laugh of scorn
Returned as something noble from the rags.
Speak, Constance, I 'm the beggar ! Ha, what 's
this ?
You two glare each at each like panthers now. 895
Constance, the world fades; only you stand
there !
You did not, in to-night's wild whirl of things.
Sell me — your soul of souls, for any price ?
No — no — 't is easy to believe in you !
Was it your love's mad trial to o'ertop 900
886 trutk. A, the truth. 888 wAat, A, and whaL
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3|n a IBalconi; 241
Mine by this vain self-sacrifice ? well, still —
Though I might curse, I love you. I am love
And cannot change ; love's self is at your feet !
The ^een goes out.
Const. Feel my heart ; let it die against your
own !
Norb. Against my own. Explain not : let this
be! 905
This is life's height.
Const. Yours, yours, yours !
Norb. You and I —
Why care by what meanders we are here
r the centre of the labyrinth ? Men have died
Trying to find this place, which we have found.
Const. Found, found !
Norb. Sweet, never fear what she can do ! 910
We are past harm now.
Const. On the breast of God.
I thought of men — as if you were a man.
Tempting him with a crown !
Norb. This must end here :
It is too perfect.
Const. There's the music stopped.
What measured heavy tread ? It is one blaze 915
About me and within me.
Norb. Oh, some death
902 might. A, should. 908 F the. A, In the.
909 place. A, place out.
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242 3|ti a JBdkmn
Will run its sudden finger round this spark
And sever us from the rest !
Const. And so do well.
Now the doors open.
Norb. 'T is the guard comes.
Const. Kiss !
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^ifU^ to S'tt ^ ^{cottp
For tie meaning of single words see the Glossary,
In a Balcony was written at Bagni di Lucca m the summer of
1853, and revised during the following winter at Rome. It was
published in Men and Women m 1855. It was produced by the
London Browning Society in 1884, at Prince's Hall. Mr. Fred-
rick Wedmore commented on the performance in the Academy
for Dec. 6 : ** In a Balcony^ on the stage as in the study, is for
the few, not for the many.** It has been privately given by the
Boston Browning Society, and was brought out in New York and
Boston by Mrs. Le Moyne in 1901.
200, 25. Takes part . . . here. Thinks of his interest
against this woman myself.
20Z, 39-40* Vou love . . . vain. It is love of the world
that makes you care for the formal, outward acknowledgment of
our love ; whereas my love asks further concealment. If you love
me as wdl as you do the world, I shall not ask m vain.
20 Z, 50. Now take this rose. It is no slight drawback
to In a Balcony as an acting play that the exposition of the situa-
tion hardly be^ns before this point.
202, 62. your . . . heaven. It is the moment when the stars
are absolutely favorable to you. A figure borrowed from astrology.
203, 100. You told the Queen you served her for
herself. So completely does the lo^c of Constance rest upon
this statement that one is tempted to think it strange Norbert lets
it go unchallenged, or, if he accepts it, that both he and Constance
so completely ignore it later.
208, 205-207. The world . . . traps. These lines have
been interpreted by some to mean that Constance was the mistress
of Norbert. They are certainly open to that construction, but it
does not in the least seem necessary to put it upon them. Brown-
ing was often intense in phrasing, and both the nature of Norbert
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244 iptote0
and the relations of the lovers throughout the play seem to contra-
dict the supposition that their passion had led them so far. See
p. 2IO, II. 232-233, and p. 228y II. 625-627.
209, 223« let my low ground shame their high I
Because my common, natural motive will produce effects greater
than follow from their grandiose ambitions.
2X6, 371. The happier you I Here, and throughout the
interview, Browning with much skill shows how the preoccupation
of the Queen* 8 mmd makes her so mterpret the broken exclamations
of Constance as to miss completely the clue to the situation.
2x8-2x9, 421-424. There have . . . soul. The bold-
ness of this passage is characteristically Browningesque. It b im-
portant dramatically in that it goes ^r to justify the fear which
Constance had of the Queen. Constance might not understand the
strenuousness of passion of which her cousin was capable, but being
a woman she felt mstinctively the force of the revengeful jealousy
of which the Queen was capable.
227, 608. Now I p^ive myself to you. As has been said
in the Introduction this is one of the crucial lines of the drama.
229^230, 650-660. Quick, Norbert . . . the rich.
This might be a groping on the part of Constance after something
which would satisfy the vigorous nature of Norbert if he lost his hold
on the reins of government. If he were but an artist he might be
content even m obscurity and poverty. Norbert answers uncon-
sciously that this is impossible. She gives up the hope and acqui-
esces in the simple but pregnant words, ^* So, best ! ** It is more
consistent with her character to understand it as her means of satis-
fying herself that she u right ]n her belief that his life would be
unsatisfied if his high ambitions were balked.
240, 895. You two . . . now. This scene is really of
tremendous dramatic intensity, as those who saw the performance
given imder the auspices of the Boston Browning Society, or the
perhaps less satisfactory performance of Mis. Le Moyne and her
company, can abundantiy testify. Mr. F. J. Fumivall has given it
as his opmion: « The Queen*s part seems to me the mtensest in
Browning's dramatic work.**
242, 919. 'T is the g^ard comes. See Introduction,
p. XXX.
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a ^oifViei Cta$etit
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PERSONS.
LuiTOLFO and Eulalia, betrothed lovirs,
Chiappino, their friend.
Ogniben, the Papers Legate.
Citizens ofFaemca.
Time, 15 — . Place, Faenxa.
Persons, Not in A. Instead, the note as to the meaning of Bells
and Pomegranates (see Notes to A Sours Tragedjf, page 296)
faced page i of the play.
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91 ^mV^ CtageDt
ACT FIRST, BEING WHAT WAS CALLED THE
POETRY OF CHIAPPINO*S LIFE : AND ACT
SECOND, ITS PROSE.
1846.
ACT I.
Scene. — Inside Luitol/b's house,
Chiappino^ Eulalta.
Eulalia. What is it keeps Luitolfo ? Night 's
fast falling.
And 't was scarce sunset . . . had the ave-bell
Sounded before he sought the Provost's house ?
I think not : all he had to say would take
Few minutes, such a very few, to say !
How do you think, Chiappino ? If our lord
The Provost were less friendly to your friend
Than everybody here professes him,
jict . . . Prose. In A these words stand as here, but m the
1849 ed. and thereafter they are on the half-title.
jict First, A, Part First. Act Second. A, Part Second.
Act I. A, Part I. Scene . . . Euledia. A omits scene^ read-
ing : Inside Luitolfo's house at Faenza. Chiappmo, Euhdia.
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248 jSi 9^uVe (D^taigefi? [act i.
I should begin to tremble — should not you ?
Why are you silent when so many times lo
I turn and speak to you ?
Chiappino. That 's good !
Eula. You laugh !
Chiap. Yes. I had fancied nothing that bears
price
In the whole world was left to call my own ;
And, may be, felt a little pride thereat.
Up to a single man's or woman's love, 15
Down to the right in my own flesh and blood.
There 's nothing mine, I fancied, — till you
spoke :
— Counting, you see, as " nothing " the permis-
sion
To study this peculiar lot of mine
In silence : well, go silence with the rest ao
Of the world's good ! What can I say, shall
serve ?
Eula. This, — lest you, even more than
needs, embitter
Our parting: say your wrongs have cast, for
once,
A cloud across your spirit !
Chiap, How a cloud ?
Eula, No man nor woman loves you, did you
say ? as
Chiap. My God, were 't not for thee I
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sciNi I] ja 9^mVe (D^rageDi; 249
Eula. Ay, God remain^.
Even did men forsake you.
Chiap. Oh, not so !
Were *t not for God, I mean, what hope of
truth —
Speaking truth, hearing truth, would stay with
man ?
I, now — the homeless friendless penniless 30
Proscribed and exiled wretch who speak to
you,—
Ought to speak truth, yet could not, for my death,
(The thing that tempts me most) help speaking
lies
About your friendship and Luitolfo's courage
And all our townsfolk's equanimity — 35
Through sheer incompetence to rid myself
Of the old miserable lying trick
Caught from the liars I have lived with, — God,
Did I not turn to thee ! It is thy prompting
I dare to be ashamed of, and thy counsel 40
Would die along my coward lip, I know.
But I do turn to thee. This craven tongue.
These features which refuse the soul its way.
Reclaim thou ! Give me truth — truth, power
to speak —
And after be sole present to approve 45
The spoken truth ! Or, stay, that spoken truth.
Who knows but you, too, may approve ?
47 may. A, might.
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250 ja J&oura tIPrase&i? [act i.
Eula. Ah, well —
Keep silence then, Chiappino I
Chiap. You would hear.
You shall now, — why the thing we please to
style
My gratitude to you and all your friends 50
For service done me, is just gratitude
So much as yours was service : no whit more.
I was born here, so was Luitolfo ; both
At one time, much with the same circumstance
Of rank and wealth ; and both, up to this night 55
Of parting company, have side by side
Still fared, he in the sunshine — I, the shadow.
" Why ? " asks the world. " Because," replies
the world
To its complacent self, " these playfellows,
'' Who took at church the holy-water drop 60
" Each from the other's finger, and so forth, —
" Were of two moods : Luitolfo was the proper
" Friend-making, everywhere friend-finding soul,
" Fit for the sunshine, so, it followed him.
" A happy-tempered bringer of the best 65
" Out of the worst ; who bears with what 's past
cure,
'' And puts so good a face on 't — wisely passive
'' Where action 's fruitless, while he remedies
49 ive please. A, we *rc pleased.
$% no xvhit more. A, and no more. 6i Each, A, One.
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^^ In silence what the foolish rail against ;
^^A man to smooth such natures as parade 70
^^ Of opposition must exasperate ;
" No general gauntlet-gatherer for the weak
" Against the strong, yet over-scrupulous
** At lucky junctures j one who won't forego
" The after-battle work of binding wounds, 75
^^ Because, forsooth he 'd have to bring himself
"To side with wound-infiictors for their
leave ! "
— Why do you gaze, nor help me to repeat
What comes so glibly from the common mouth.
About Luitolfo and his so-styled friend ? 80
Eula. Because that friend's sense is ob*
scured . . .
Cbiap. I thought
You would be readier with the other half
Of the world's story, my half ! Yet, 't is true.
For all the world does say it. Say your worst !
True, I thank God, I ever said " you sin," 85
When a man did sin : if I could not say it,
I glared it at him ; if I could not glare it,
I prayed against him ; then my part seemed over.
God's may begin yet : so it will, I trust.
Eula. If the world outraged you, did we ?
76 forsooth. The comma after this word given in A is probably
inadvertently omitted m the 1888-94 ed.
77 wound-inJUctori, A, their inflicton.
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252 <9 f^mVe tETraseBi; [act i.
Cbiap. What's "me" 90
That you use well or ill ? It 's man, in me,
All your successes are an outrage to.
You all, whom sunshine follows, as you say !
Here 's our Faenza birthplace j they send here
A provost from Ravenna : how he rules, 95
You can at times be eloquent about.
«•' Then, end his rule ! " — "Ah yes, one stroke
does that !
" But patience under wrong works slow and
sure.
** Must violence still bring peace forth ? He,
beside,
" Returns so blandly one's obeisance ! ah — 100
" Some latent virtue may be lingering yet,
^^ Some human sympathy which, once excite,
*' And all the lump were leavened quietly :
" So, no more talk of striking, for this time ! **
But I, as one of those he rules, won't bear 105
These pretty takings-up and layings-down
Our cause, just as you think occasion suits.
Enough of earnest, is there ? You '11 play, will
you?
Diversify your tactics, give submission.
Obsequiousness and flattery a turn, no
While we die in our misery patient deaths ?
We all are outraged then, and I the first :
I, for mankind, resent each shrug and smirk.
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sciNi ij a J&ottl'0 (D^raseDi; 253
Each beck and bend, each ... all you do and
are,
I hate !
Eula. We share a common censure, then. 115
*T is well you have not poor Luitolfo's part
Nor mine to point out in the wide offence.
Chiap, Oh, shall I let you so escape me, lady ?
Come, on your own ground, lady, — from your-
self,
(Leaving the people's wrong, which most is
mine^ 120
What have I got to be so grateful for ?
These three last fines, no doubt, one on the
other
Paid by Luitolfo ?
Eula. Shame, Chiappino !
Chiap. Shame
Fall presently on who deserves it most !
— Which is to see. He paid my fines — my
friend, 125
Your prosperous smooth lover presently.
Then, scarce your wooer, — soon, your hus- .
band: well —
I loved you.
Eula. Hold !
117 Nor mine. A, Or mine.
126-127 Tour proiperous . . . well. A reads:
Your proaperous smooth huaband presently.
Then, scarce your wooer — now, your lover : well -»
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254 jat I^Ottl'fif tE^m%^ [Act I.
Cbiap. You knew it, years ago.
When my voice faltered and my eye grew dim
Because you gave me your silk mask to hold — 130
My voice that greatens when there's need to
curse
The people's Provost to their heart's content,
— My eye, the Provost, who bears all men's
eyes.
Banishes now because he cannot bear, -^
You knew . . . but you do your parts — my
part, 1 : 135
So be it ! You flourish, I decay : all 's well.
Eula. I hear this for the first time.
Chiap. The fault 's there ?
Then my days spoke not, and my nights of fire
Were voiceless? Thep the very heart may
burst.
Yet all prove nought, because no mincing speech 140
Tells leisurely that thus it is and thus ?
Eulalia, truce with toying for this once !
A banished fool, who troubles you to-night
For the last time — why, what 's to fear from
me?
You knew I loved you !
Eula, Not so, on my faith ! 145
You were my now-affianced lover's friend —
l»9, 133 'wy *y<« A, my eyes.
137 The fault U there f A, Oh, the fault wai there?
\ 144 ijohy. A, Oh.
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sciN.1.] jS $&our0 (D^raseDi; 255
Came in, went out with him, could speak as he.
All praise your ready parts and pregnant wit;
See how your words come from you in a crowd !
Luitolfo 's first to place you o'er himself 150
In all that challenges respect and love :
Yet you were silent then, who blame me now.
I say all this by fascination, sure :
I, all but wed to one I love, yet listen !
It must be, you are wronged, and that the
wrongs 155
Luitolfo pities . . .
Chiap. — You too pity ? Do !
But hear first what my wrongs are; so began
This talk and so shall end this talk. I say,
Was 't not enough that I must strive (I saw)
To grow so far familiar with your charms 160
As next contrive some way to win them — which
To do, an age seemed far too brief — for, see !
We all aspire to heaven ; and there lies heaven
Above us : go there ! Dare we go ? no, surely !
How dare we go without a reverent pause, 165
A growing less unfit for heaven ? Just so,
I dared not speak : the greater fool, it seems !
Was 't not enough to struggle with such folly.
But I must have, beside, the very man
Whose slight free loose and incapacious soul 170
154 /, all but. A, I am all but. 161 As next. A, At to.
i6i brief. A, little. 163 //«. A, is. 166 Just, A, Even.
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2s6 9i9^uVetEu^ii [acti.
Gave his tongue scope to say'whate'er he would
— Must have him load me with his benefits
— For fortune's fiercest stroke ?
Eula. Justice to him
That 's now entreating, at his risk perhaps,
Justice for you ! Did he once call those acts 175
Of simple friendship — bounties, benefits ?
Chiap. No : the straight course had been to
call them thus.
Then, I had flung them back, and kept myself
Unhampered, free as he to win the prize
We both sought. But " the gold was dross," he
said : i8<\
" He loved me, and I loved him not : why spurn
" A trifle out of superfluity ?
" He had forgotten he had done as much."
So had not I ! Henceforth, try as I could
To take him at his word, there stood by you 185
My benefactor ; who might speak and laugh
And urge his nothings, even banter mc
Before you — but my tongue was tied. A
dream !
Let 's wake : your husband . . . how you shake
at that !
Good — my revenge !
Eula. Why should I shake ? What forced 190
Or forces me to be Luitolfo's bride ?
177 tAus, A, ao. 181 iv Ay spurn. A, to spurn.
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sciNi I.] ^ j^ottl'tf tCrageii? 257
Cbiap. There's my revenge, that nothing
forces you.
No gratitude, no liking of the eye
Nor longing of the heart, but the poor bond
Of habit — here so many times he came, 195
So much he spoke, — all these compose the tie
That pulls you from me. Well, he paid my fines.
Nor missed a cloak from wardrobe, dish from
table ;
He spoke a good word to the Provost here,
Held me up when my fortunes fell away *<»
— It had not looked so well to let me drop —
Men take pains to preserve a tree-stump, even.
Whose boughs they played beneath — much
more a friend.
But one grows tired of seeing, after the first.
Pains spent upon impracticable stuff »05
Like me. I could not change : you know the
rest.
I Ve spoke my mind too fully out, by chance,
This morning to our Provost ; so, ere night
I leave the city on pain of death. And now
On my account there 's gallant intercession »io
Goes forward — that 's so graceful ! — and anon
He *11 noisily come back ; " the intercession
" Was made and fails ; all 's over for us both ;
*' 'T is vain contending ; I would better go."
207 iy chance. A, for once.
214 / tvould better. A, I had better.
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258 at &Ottl'« tCragrtlB [Act I.
And I do go — and straight to you he turns »'5
Light of a load) and ease of that permits
His visage to repair the natural bland
CEconomy, sore broken late to suit
My discontent. Thus, all are pleased — you,
with him,
He with himself, and all of you with me 220
— " Who," say the citizens, " had done far
better
^ In letting people sleep upon their woes,
'' If not possessed with talent to relieve them
" When once awake 5 — but then I had," they '11
say,
^^ Doubtless some unknown compensating pride 225
^^ In what I did ; and as I seem content
** With ruining myself, why, so should they be."
And so they are, and so be with his prize
The devil, when he gets them speedily !
Why does not your Luitolfo come ? I long 230
To don this cloak and take the Lugo path.
It seems you never loved me, then ?
Eula. Chiappino !
Chiap. Never ?
£u/a. Never.
Chiap. That *s sad. Say what I might.
There was no help from being sure this while
215 straight. A, so. 217 the natural. A, Its natund.
219 Thui, A, So. 224 awake. A, they woke.
234 help from. A, helping.
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sciNi I.] 31 j^ottl'tf tCrageDu 259
You loved me. Love like mine must have return, 235
I thought : no river starts but to some sea.
And had you loved me, I could soon devise
Some specious reason why you stifled love.
Some fancied self-denial on your part,
Which made you choose Luitolfo ; so, excepting 240
From the wide condenmation of all here.
One woman. Well, the other dream may break !
If I knew any heart, as mine loved you.
Loved me, though in the vilest breast 't were
lodged,
I should, I think, be forced to love again : 245
Else there 's no right nor reason in the world.
Eula. '' If you knew," say you, — but I did
not know.
That 's where you *re blind, Chiappino ! — a
disease
Which if I may remove, I 'U not repent
The listening to. You cannot, will not, sec 150
How, place you but in every circumstance
Of us, you are just now indignant at.
You 'd be as we.
Chiap. I should be ? . . . that ; again !
I, to my friend, my country and my love.
Be as Luitolfo and these Faentines ? »55
Eula. As we.
Chiap. Now, I'll say something to re-
member.
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26o Si J&ottr« (ETraseDi; [act i.
I trust in nature for the stable laws
Of beauty and utility. — Spring shall plant.
And Autumn garner to the end of time :
I trust in God — the right shall be the right »^
And other than the wrong, while he endures :
I trust in my own soul, that can perceive
The outward and the inward, nature's good
And God's : so, seeing these men and myself.
Having a right to speak, thus do I speak. ^^5
I'll not curse — God bears with them, well
may I —
But I — protest against their claiming me.
I simply say, if that 's allowable,
I would not (broadly) do as they have done.
— God curse this townful of born slaves, bred
slaves, »7^
Branded into the blood and bone, slaves ! Curse
Whoever loves, above his liberty.
House, land or life ! and . . .
J knocking without.
— bless my hero-friend,
Luitolfo !
Eula. How he knocks !
Chiap, The peril, lady !
" Chiappino, I have run a risk — a risk ! 175
"For when I prayed the Provost (he's my
friend)
172 loves. A, loved. 275 / have run . . . rhk. A, I have
run a risk! My God ! 276 For, A, How.
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sciNii] jai j^ottl'tf tETragrtC 261
" To grant you a week's respite of the sentence
'' That confiscates your goods, exiles yourself,
^^ He shrugged his shoulder — I say, shrugged
it! Yes,
^^ And fright of that drove all else from my head. 280
'* Here 's a good purse of scudi : off with you,
^^ Lest of that shrug come what God only knows !
" The scudi — friend, they *re trash — no thanks,
I beg!
** Take the north gate, — for San Vitale's suburb,
^^ Whose double taxes you appealed against, 285
" In discomposure at your ill-success
" Is apt to stone you : there, there — only go !
^^ Beside, Eulalia here looks sleepily.
^^ Shake • . . oh, you hurt me, so you squeeze
my wrist ! "
— Is it not thus you '11 speak, adventurous
friend ? 290
Js he opens the door^ Luitolfo rushes in^
his garments disordered,
Eula. Luitolfo ! Blood ?
Luitolfo, There 's more — and more of it !
Eulalia — take the garment ! No — you, friend !
You take it and the blood from me — you dare !
Eula. Oh, who has hurt you ? where 's the
wound ?
277 the sentence. A, his sentence.
278 exiles yourself. A, and exiles you.
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262 Si &oul'« (EPtaseO? [act i.
Chiap. " Who," say you ?
The man with many a touch of virtue yet ! ^95
The Provost*s friend has proved too frank of
speech,
And this comes of it. Miserable hound !
This comes of temporizing, as I said !
Here 's fruit of your smooth speeches and soft
looks !
Now see my way ! As God lives, I go straight 300
To the palace and do justice, once for all '
Luit. What says, he ?
Chiap. I '11 do justice on him.
Luit. Him ?
Chiap. The Provost.
Luit. I 've just killed him.
£u/a. Oh, my God !
Luit. My friend, they're on my trace; they *11
have me — now !
They're round him, busy with him: soon they '11
find 305
He 's past their help, and then they '11 be on me !
Chiappino, save Eulalia ! I forget . . .
Were you not bound for . . .
Chiap. Lugo ?
Luit. Ah — yes — yes !
That was the point I prayed of him to change.
Well, go — be happy ! Is Eulalia safe ? 3»o
They 're on me !
299 soft. A, fair.
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sciNi I] a J&ottl'flf tlTtagefii? 263
Chiap, 'Tis through me they reach you,
then!
Friend, seem the man you are ! Lock arms —
that 's right !
Now tell me what you 've done ; explain how
you
That still professed forbearance, still preached
peace.
Could bring yourself . . .
Luit. What was peace for, Chiappino ? 3"5
I tried peace : did that promise, when peace
failed.
Strife should not follow ? All my peaceful days
Were just the prelude to a day like this.
I cried '' You call me * friend ' : save my true
friend !
" Save him, or lose me ! "
Chiap. But you never said 3*0
You meant to tell the Provost thus and thus.
Luit. Why should I say it ? What else did I
mean ?
Chiap. Well ? He persisted ?
Luit. — " Would so order it
" You should not trouble him too soon again."
I saw a meaning in his eye and lip ; 3^5
I poured my heart's store of indignant words
Out on him : then — I know not ! He retorted,
316 promise. A, say that.
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264 Si 9»mVg tETraseOi? l^^ '•
And I . . . some staff lay there to hand — I
think
He bade his servants thrust me out — I struck . . .
Ah, they come ! Fly you, save yourselves, you
two ! 330
The dead back-weight of the beheading axe !
The glowing trip-hook, thumbscrews and the
gadge!
Eula. They do come ! Torches in the Place !
Farewell,
Chiappino ! You can work no good to us —
Much to yourself; believe not, all the world 335
Must needs be cursed henceforth !
Chiap, And you ?
Eula. I stay.
Chiap, Ha, ha ! Now, listen ! I am master
here!
This was my coarse disguise ; this paper shows
My path of flight and place of refuge — see —
Lugo, Argenta, past San Nicolo, 34©
Ferrara, then to Venice, and all 's safe !
Put on the cloak ! His people have to fetch
A compass round about. There 's time enough
Ere they can reach us, so you straightway make
For Lugo . . . nay, he hears not ! On with it — 345
The cloak, Luitolfo, do you hear me ? See —
He obeys he knows not how. Then, if I
must —
Answer me ! Do you know the Lugo gate ?
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sciNii.] Si fscuVfi tBuQtt^ 265 I
Eula, The north-west gate, over the bridge ?
Luit. I know.
Chiap. Well, there — you are not frightened ?
all my route 350
Is traced in that : at Venice you escape
Their power. Eulalia, I am master here !
Shouts from without. He pushes out
Luitolfo^ who complies mechanically.
In time ! Nay, help me with him — so ! He 's
gone.
Eula. What have you done ? On you, per-
chance, all know
The Provost's hater, will men's vengeance fall 355
As our accomplice.
Chiap. Mere accomplice? See!
Putting on Luitolfo^s vest.
Now, lady, am I true to my profession,
Or one of these ?
Eula. You take Luitolfo's place ?
Chiap. Die for him.
Eula. Well done !
Shouts increase.
Chiap. How the people tarry !
I can't be silent ; I must speak : or sing — 3^0
How natural to sing now !
Eula. Hush and pray !
We are to die; but even I perceive
351 you etcape. A, you *11 escape.
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266 a J&Ottl'flf tD^geOl? [Act I.
'T is not a very hard thing so to die.
My cousin of the pale-blue tearful eyes.
Poor Cesca, suffers more from one day's life 365
With the stern husband ; Tisbe's heart goes forth
Each evening after that wild son of hers,
To track his thoughtless footstep through the
streets :
How easy for them both to die like this !
I am not sure that I could live as they. 370
Chiap. Here they come, crowds ! They
pass the gate ? Yes ! — No ! —
One torch is in the courtyard. Here flock all.
Eula, At least Luitolfo has escaped. What
cries!
Chiap, If they would drag one to the market-
place.
One might speak there !
Eula. List! list!
Chiap, They mount the steps. 375
Enter the Populace.
I killed the Provost !
The Populace {speaking together). 'T was Chiap-
pino, friends !
Our saviour ! The best man at last as first !
He who first made us feel what chains we wore.
He also strikes the blow that shatters them.
He at last saves us — our best citizen ! 380
378 feel. A, sec.
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Scene I] ^ ^ul'flf tittagein? 267
— Oh, have you only courage to speak now ?
My eldest son was christened a year since
*' Cino " to keep Chiappino's name in mind —
Cino, for shortness merely, you observe !
The city 's in our hands. The guards are fled. 385
Do you, the cause of all, come down — come
up-
Come out to counsel us, our chief, our king.
Whatever rewards you ! Choose your own
reward !
The peril over, its reward begins !
Come and harangue us in the market-place ! 390
Eula. Chiappino?
Chiap. Yes — I understand your eyes !
You think I should have promptlier disowned
This deed with its strange unforeseen success,
In favour of Luitolfo. But the peril.
So far from ended, hardly seems begun. 395
To-morrow, rather, when a calm succeeds.
We easily shall make him full amends :
And meantime — if we save them as they pray,
And justify the deed by its effects ?
Eula, You would, for worlds, you had denied
at once. 400
Chiap, I know my own intention, be assured !
All 's well. Precede us, fellow-citizens !
386 come up. A, come down.
387 Come out. A, Come forth.
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ACT II.
Scene. — The market-place, Luitolfo in disguise
mingling with the Populace assembled opposite
the Provosfs Palace*
1st Bystander {to Luitolfo\ You, a friend of
Luitolfo's? Then, your friend is vanished, —
in all probability killed on the night that his
patron the tyrannical Provost was loyally sup-
pressed here, exactly a month ago, by our illus- 5
trious fellow-citizen, thrice-noble saviour, and
new Provost that is like to be, this very morning,
— Chiappino !
Luitolfo. He the new Provost ?
2nd Byst. Up those steps will he go, and i©
beneath yonder pillar stand, while Ogniben, the
Pope's Legate from Ravenna, reads the new dig-
nitary's title to the people, according to estab-
lished custom : for which reason, there is th«
assemblage you inquire about. 15
Luit. Chiappino — the late Provost's succes-
sor ? Impossible ! But tell me of that pre-
sently. What I would know first of all is.
Act 11. A, Part II. Scene. A omits this word.
9 He. Italicized in A. 14 cuitom. A, usage.
16 late. A, old.
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Scene I] jj ^^VSi tETtaS^ 269
wherefore Luitolfo must so necessarily have
been killed on that memorable night ? so
jrd Byst. You were Luitolfo's friend ? So
was I. Never, if you will credit me, did there
exist so poor-spirited a milksop. He, with all
the opportunities in the world, furnished by
daily converse with our oppressor, would not 15
stir a finger to help us : and, when Chiappino
rose in solitary majesty and . . • how does one
go on saying? dealt the godlike blow, — this
Luitolfo, not unreasonably fearing the indig-
nation of an aroused and liberated people, fled 30
precipitately. He may have got trodden to
death in the press at the south-east gate, when
the Provost's guards fled through it to Ravenna,
with their wounded master, — if he did not
rather hang himself under some hedge. 35
Luit. Or why not simply have lain perdue
in some quiet corner, — such as San Cassiano,
where his estate was, — receiving daily intelli-
gence from some sure friend, meanwhile, as to
the turn matters were taking here — how, for 40
instance, the Provost was not dead, after all, only
wounded — or, as to-day's news would seem to
prove, how Chiappino was not Brutus the Elder,
after all, only the new Provost — and thus Lui-
26 and^ when. A, so when.
36 perdue. Italicised m A.
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270 SL fsonVa tlTniseO? [act ii.
tolfo be enabled to watch a favourable opportu- 45
nity for returning ? Might it not have been so ?
jrd Byst, Why, he may have taken that care
of himself, certainly, for he came of a cautious
stock. I '11 tell you how his uncle, just such
another gingerly treader on tiptoes with finger on 50
lip, — how he met his death in the great plague-
year; dico vobis! Hearing that the seventeenth
house in a certain street was infected, he calcu-
lates to pass it in safety by taking plentiful
breath, say, when he shall arrive at the eleventh 55
house; then scouring by, holding that breath,
till he be got so far on the other side as number
twenty-three, and thus elude the danger. — And
so did he begin ; but, as he arrived at thirteen,
we will say, — thinking to improve on his pre- 60
caution by putting up a little prayer to St. Ne-
pomucene of Prague, this exhausted so much of
his lungs' reserve, that at sixteen it was clean
spent, — consequently at the fatal seventeen he
inhaled with a vigour and persistence enough to 65
suck you any latent venom out of the heart of a
stone — Ha, ha !
Lutt, {aside). (If I had not lent that man the
money he wanted last spring, I should fear this
bitterness was attributable to me.) Luitolfo is 70
dead then, one may conclude ?
jrd Byst. Why, he had a house here, and a
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sciNi I.] ^ &our« tETraseH? 271
woman to whom he was affianced ; and as they
both pass naturally to the new Provost, his friend
and heir ... 75
Luit. Ah, I suspected you of imposing on
me with your pleasantry ! I know Chiappino
better.
1st Byst, (Our friend has the bile ! After all,
I do not dislike finding somebody vary a little So
this general gape of admiration at Chiappino's
glorious qualities.) Pray, how much may you
know of what has taken place in Faenza since
that memorable night ?
Luit. It is most to the purpose, that I know 85
Chiappino to have been by profession a hater of
that very office of Provost, you now charge him
with proposing to accept.
ist Byst. Sir, I '11 tell you. That night was
indeed memorable. Up we rose, a mass of us, 90
men, women, children j out fled the guards with
the body of the tyrant ; we were to defy the
world : but, next gray morning, '' What will
Rome say ? *' began everybody. You know we
are governed by Ravenna, which is governed by 95
Rome. And quietly into the town, by the Ra-
venna road, comes on muleback a portly per-
sonage, Ogniben by name, with the quality of
Pontifical Legate ; trots briskly through the streets
humming a " Cur fremuere gentesy* and makes 100
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^^^ a g)ottl'« tICnigei? [act h.
directly for the Provost's Palace — there it faces
you. '' One Messer Chiappino is your leader ?
I have known three-and-twenty leaders of re-
volts ! " (laughing gently to himself) — '' Give
me the help of your arm from my mule to yon- 105
der steps under the pillar — So ! And now, my
revolters and good friends, what do you want ?
The guards burst into Ravenna last night bear-
ing your wounded Provost ; and, having had a
little talk with him, I take on myself to come no
and try appease the disorderliness, before Rome,
hearing of it, resort to another method : 't is
I come, and not another, from a certain love I
confess to, of composing differences. So, do you
understand, you are about to experience this un-ns
heard-of tyranny from me, that there shall be no
heading nor hanging, no confiscation nor exile :
I insist on your simply pleasing yourselves. And
now, pray, what does please you ? To live with-
out any government at all ? Or having decided 120
for one, to see its minister murdered by the first of
your body that chooses to find himself wronged,
or disposed for reverting to first principles and a
justice anterior to all institutions, — and so will
you carry matters, that the rest of the world 125
must at length unite and put down such a den
of wild beasts ? As for vengeance on what has
112 resort. A, reaoits.
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Scene I] ^ 9»Wi'ft ©WgeBf 273
just taken place, — once for all, the wounded
man assures me he cannot conjecture who struck
him; and this so earnestly, that one may be sure 130
he knows perfectly well what intimate acquaint-
ance could find admission to speak with him late
last evening. I come not for vengeance there-
fore, but from pure curiosity to hear what you
will do next." And thus he ran on, on, easily 135
and volubly, till he seemed to arrive quite natu-
rally at the praise of law, order, and paternal
government by somebody from rather a distance.
All our citizens were in the snare, and about to
be friends with so congenial an adviser ; but that 140
Chiappino suddenly stood forth, spoke out in-
dignantly, and set things right again.
Luit, Do you see ? I recognize him there !
jrd Byst. Ay but, mark you, at the end of
Chiappino's longest period in praise of a pure 145
republic, — " And by whom do I desire such a
government should be administered, perhaps, but
by one like yourself? " — returns the Legate :
thereupon speaking for a quarter of an hour to-
gether, on the natural and only legitimate gov- 150
ernment by the best and wisest. And it should
seem there was soon discovered to be no such
vast discrepancy at bottom between this and
132-133 late last. A, so late that. 135-136 ^01/ Mm . . .
voluhly. A, And thus ran he on, easily and volubly.
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274 9L &ota'« tE^ragrtp [act ii.
Chiappino's theory, place but each in its proper
light. " Oh, are you there ? " quoth Chiappino : 155
** Ay, in that, I agree,** returns Chiappino : and
so on.
Luit. But did Chiappino cede at once to this ?
1st Byst. Why, not altogether at once. For
instance, he said that the difference between him 160
and all his fellows was, that they seemed all
wishing to be kings in one or another way, —
** whereas what right," asked he, " has any man
to wish to be superior to another ? *' — whereat,
'' Ah, sir,'* answers the Legate, " this is the death 165
of me, so often as I expect something is really
going to be revealed to us by you clearer-seers,
deeper-thinkers — this — that your right-hand
(to speak by a figure) should be found taking up
the weapon it displayed so ostentatiously, not 170
to destroy any dragon in our path, as was pro-
phesied, but simply to cut off its own fellow left-
hand : yourself set about attacking yourself. For
see now ! Here are you who, I make sure, glory
exceedingly in knowing the noble nature of the 175
soul, its divine impulses, and so forth ; and with
such a knowledge you stand, as it were, armed
to encounter the natural doubts and fears as to
that same inherent nobility, which are apt to
waylay us, the weaker ones, in the road of life. 180
156 ^y, A omitt. 179 vfJkicA are apt. A, that are apt.
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And when we look eagerly to see them fall be-
fore you, lo, round you wheel, only the left-hand
gets the blow j one proof of the soul'^ nobility
destroys simply another proof, quite as good, of
the same, for you are found delivering an opinion 185
like this ! Why, what is this perpetual yearning
to exceed, to subdue, to be better than, and a
king over, one's fellows, — all that you so dis-
claim, — but the very tendency yourself are most
proud of, and under another form, would oppose 190
to it, — only in a lower stage of manifestation ?
You don't want to be vulgarly superior to your
fellows after their poor fashion — to have me
hold solemnly up your gown's tail, or hand you
an express of the last importance from the Pope, 195
with all these bystanders noticing how uncon-
cerned you look the while : but neither does our
gaping friend, the burgess yonder, want the other
kind of kingship, that consists in understanding
better than his fellows this and similar points of 200
human nature, nor to roll under his tongue this
sweeter morsel still, — the feeling that, through
immense philosophy, he does not feel, he rather
thinks, above you and me ! " And so chatting,
they glided off arm-in-arm. 105
Luit. And the result is . . .
1st Byst. Why that, a month having gone by,
iZ$ for, A omits. 201 Mis, A, the.
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276 a fSmVe t!iUZt9S [Act II.
the indomitable Chiappino, marrying as he will
Luitolfo's love — at all events succeeding to Lui-
tolfo's wealth — becomes the first inhabitant of no
Faenza, and a proper aspirant to the Provost-
ship ; which we assemble here to see conferred
on him this morning. The Legate's Guard to
clear the way ! He will follow presently.
Luit. (withdrawing a little). I understand the 215
drift of Eulalia's communications less than ever.
Yet she surely said, in so many words, that Chi-
appino was in urgent danger : wherefore, disre-
garding her injunction to continue in my retreat
and await the result of — what she called, some 220
experiment yet in process — I hastened here
without her leave or knowledge : how could I
else ? But if this they say be true — if it were
for such a purpose, she and Chiappino kept me
away . . . Oh, no, no! I must confront him 225
and her before I believe this of them. And at
the word, see !
Enter Chiappino and Eulalia.
Eulalia. We part here, then ? The change in
your principles would seem to be complete.
Chiappino, Now, why refuse to see that in my 230
present course I change no principles, only re-
210 tvealth. Ay goods. 219 injunction. A, injunctions.
220 await. Ay wait. 222 kow could. A, what could
223 But if this. A, Yet if what.
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[sciN. I. <a fbml'ft tEPtaset^ 277
adapt them and more adroitly ? I had despaired
of, what you may call the material instrumen-
tality of life ; of ever being able to rightly operate
on mankind through such a deranged machinery 235
as the existing modes of government : but now,
if I suddenly discover how to inform these per-
verted institutions with fresh purpose, bring the
functionary limbs once more into immediate com-
munication with, and subjection to, the soul 1 240
am about to bestow on them — do you see?
Why should one desire to invent, as long as it
remains possible to renew and transform ? When
all further hope of the old organization shall be
extinct, then, I grant you, it may be time to try 245
and create another.
Eula. And there being discoverable some hope
yet in the hitherto much-abused old system of
absolute government by a Provost here, you mean
to take your time about endeavouring to realize 250
those visions of a perfect State, we once heard
of?
Chiap. Say, I would fain realize my concep-
tion of a palace, for instance, and that there is,
abstractedly, but a single way of erecting one 25 5
perfectly. Here, in the market-place is my al-
lotted building-ground ; here I stand without a
stone to lay, or a labourer to help me, — stand,
too, during a short day of life, close on which
y Google
278 a foul's ©nigeln? [Act ir.
the night comes. On the other hand, circum-260
stances suddenly offer me (turn and see it !) the
old Provost's house to experiment upon — ruin-
ous, if you please, wrongly constructed at the
beginning, and ready to tumble now. But mate-
rials abound, a crowd of workmen offer their 265
services ; here, exists yet a Hall of Audience of
originally noble proportions, there a Guest-cham-
ber of symmetrical design enough : and I may
restore, enlarge, abolish or unite these to heart's
content. Ought I not make the best of such an 270
opportunity, rather than continue to gaze dis-
consolately with folded arms on the flat pave-
ment here, while the sun goes slowly down, never
to rise again ? Since you cannot understand this
nor me, it is better we should part as you desire. 275
Eula. So, the love breaks away too !
Chiap. No, rather my soul's capacity for love
widens — needs more than one object to content
it, — and, being better instructed, will not per-
sist in seeing all the component parts of love in 280
what is only a single part, — nor in finding that
so many and so various loves are all united in the
love of a woman, — manifold uses in one instru-
ment, as the savage has his sword, staff, sceptre
270 Ought I not make. A, Ought I not rather make.
271 rather than. A, than. 274 Since you. A, But you.
281-283 nor in . . . uses. A, nor in finding the so many aqd
•o various loves, united in the love of a woman — finding all uses.
284-285 sword . . . idol. A, sword, sceptre and idol.
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sciNi I.] a j&ottl'flf tETrasetp 279
and idol, all in one club-stick. Love is a very 185
compound thing. The intellectual part of my
love I shall give to men, the mighty dead or the
illustrious living; and determine to call a mere
sensual instinct by as few fine names as possible.
What do I lose ? 190
Eula. Nay, I only think, what do I lose ? and,
one more word — which shall complete my in-
struction — does friendship go too ? What of
Luitolfo, the author of your present prosperity ?
Chiap, How the author ? 195
Eula. That blow now called yours . . .
Chiap. Struck without principle or purpose, as
by a blind natural operation : yet to which all my
thought and life directly and advisedly tended. I
would have struck it, and could not : he would 300
have done his utmost to avoid striking it, yet did
so. I dispute his right to that deed of mine — afinal
action with him, from the first effect of which he
fled away, — a mere first step with me, on which
I base a whole mighty superstructure of good to 305
follow. Could he get good from it ?
Eula. So we profess, so we perform !
Enter Ogniben. Eulalia stands apart.
Ogniben. I have seen three-and-twenty leaders
286-288 The intellectual , . . Vfoing, A, I ihall giye the intellec-
tual part of my loye to Men, the mighty dead, or illustrious living.
291 lose. A, love. 1849, lose. 299 thought. A, thoughts.
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28o a f^tnd'ft tZPragein? C^cr n.
of revolts. By your leave, sir ! Perform? What
does the lady say of performing ? 310
Chiap, Only the trite saying, that we must not
trust profession, only performance.
OgnL She '11 not say that, sir, when she knows
you longer ; you *11 instruct her better. Ever
judge of men by their professions ! For though 315
the bright moment of promising is but a moment
and cannot be prolonged, yet, if sincere in its
moment's extravagant goodness, why, trust it and
know the man by it, I say — not by his perform-
ance ; which is half the world's work, interfere 320
as the world needs must, with its accidents and
circumstances : the profession was purely the
man's own. I judge people by what they might
be, — not are, nor will be.
Chiap. But have there not been found, too, 3*5
performing natures, not merely promising ?
Ogni. Plenty. Little Bindo of our town, for
instance, promised his friend, great ugly Masac-
cio, once, " I will repay you ! " — for a favour
done him. So, when his father came to die, and 330
Bindo succeeded to the inheritance, he sends
straightway for Masaccio and shares all with him
— gives him half the land, half the money, half
the kegs of wine in the cellar. '' Good," say
you : and it is good. But had little Bindo found 335
himself possessor of all this wealth some five years
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scENi I] a ^ouVe tC^ragein? ^8 1
before — on the happy night when Masaccio
procured him that interview in the garden with
his pretty cousin Lisa — instead of being the
beggar he then was, — I am bound to believe 340
that in the warm moment of promise he would
have given away all the wine-kegs and all the
money and all the land, and only reserved to
himself some hut on a hill-top hard by, whence
he might spend his life in looking and seeing his 345
friend enjoy himself : he meant fully that much,
but the world interfered. — To our business !
Did I understand you just now within-doors ?
You are not going to marry your old friend's
love, after all ? 350
Chiap. I must have a woman that can sym-
pathize with, and appreciate me, I told you.
Ogni. Oh, I remember ! you, the greater na-
ture, needs must have a lesser one ( — avowedly
lesser — contest with you on that score would 355
never do) — such a nature must comprehend
you, as the phrase is, accompany and testify of
your greatness from point to point onward. Why,
that were being not merely as great as yourself,
but greater considerably ! Meantime, might not 360
the more bounded nature as reasonably count on
your appreciation of it, rather ? — on your keep-
ing close by it, so far as you both go together.
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282 ja fsouVft tDaseti; [act n.
and then going on by yourself as far as you
please ? Thus God serves us. 365
Chiap. And yet a woman that could under-
stand the whole of me, to whom I could reveal
alike the strength and the weakness —
Ogni. Ah, my friend, wish for nothing so
foolish ! Worship your love, give her the best 370
of you to see ; be to her like the western lands
(they bring us such strange news of) to the
Spanish Court; send her only your lumps of
gold, fans of feathers, your spirit-like birds, and
fruits and gems ! So shall you, what is unseen 375
of you, be supposed altogether a paradise by her,
— as these western lands by Spain : though I
warrant there is filth, red baboons, ugly reptiles
and squalor enough, which they bring Spain as
few samples of as possible. Do you want yours'o
mistress to respect your body generally ? Offer
her your mouth to kiss : don't strip off* your boot
and put your foot to her lips ! You understand
my humour by this time ? I help men to carry
out their own principles : if they please to say 3^5
two and two make five, I assent, so they will but
go on and say, four and four make ten.
Chiap. But these are my private affairs ; what
I desire you to occupy yourself about, is my
365 TAus, A, So. 385 principltt. A, principle.
386 «o. A, if.
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sciNi I] a &ottr« tCrajirtB 283
public appearance presently : for when the peo-390
pie hear that I am appointed Provost, though
you and I may thoroughly discern — and easily,
too — the right principle at bottom of such a
movement, and how my republicanism remains
thoroughly unaltered, only takes a form of ex- 395
pression hitherto commonly judged (and hereto-
fore by myself) incompatible with its existence,
— when thus I reconcile myself to an old form of
government instead of proposing a new one . . .
Ogni. Why, you must deal with people 400
broadly. Begin at a distance from this matter
and say — New truths, old truths ! sirs, there is
nothing new possible to be revealed to us in
the moral world; we know all we shall ever
know: and it is for simply reminding us, by 405
their various respective expedients, how we do
know this and the other matter, that men get
called prophets, poets and the like. A philoso-
pher's life is spent in discovering that, of the
half-dozen truths he knew when a child, such 410
an one is a lie, as the world states it in set terms ;
and then, after a weary lapse of years, and plenty
of hard-thinking, it becomes a truth again after
all, as he happens to newly consider it and view
it in a different relation with the others : and so 41 5
he restates it, to the confusion of somebody else
401 sin. A, why.
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284 9L &otd'« ([ftageaB [act n.
in good time. As for adding to the original stock
of truths, — impossible ! Thus, you see the ex-
pression of them is the grand business : — you
have got a truth in your head about the right 410
way of governing people, and you took a mode
of expressing it which now you confess to be im-
perfect. But what then ? There is truth in false-
hood, falsehood in truth. No man ever told one
great truth, that I know, without the help of a 425
good dozen of lies at least, generally unconscious
ones. And as when a child comes in breathlessly
and relates a strange story, you try to conjecture
from the very falsities in it, what the reality was,
— do not conclude that he saw nothing in the 430
sky, because he assuredly did not see a flying
horse there as he says, — so, through the con-
tradictory expression, do you see, men should
look painfully for, and trust to arrive eventually
at, what you call the true principle at bottom. 435
Ah, what an answer is there ! to what will it
not prove applicable ? — " Contradictions ? Of
course there were," say you !
Chiap. Still, the world at large may call it
inconsistency, and what shall I urge in reply ? 440
Ogni. Why, look you, when they tax you
with tergiversation or duplicity, you may answer
418 TAus, Af So. ^22 of , 1888-94 omits. Supplied from A.
440 urge. A, say.
Digitized by VjOOQIC
sciNi I.] &(mVg tBms^tfi 285
— you begin to perceive that, when all 's done
and said, both great parties in the State, the advo-
cators of change in the present system of things, 445
and the opponents of it, patriot and anti-patriot,
are found working together for the common good;
and that in the midst of their efforts for and
against its progress, the world somehow or other
still advances: to which result they contribute 450
in equal proportions, those who spend their life
in pushing it onward, as those who give theirs
to the business of pulling it back. Now, if you
found the world stand still between the opposite
forces, and were glad, I should conceive you 1455
but it steadily advances, you rejoice to see ! By
the side of such a rejoicer, the man who only
winks as he keeps cunning and quiet, and says,
*'Let yonder hot-headed fellow fight out my
battle ! I, for one, shall win in the end by the 460
blows he gives, and which I ought to be giving"
— even he seems graceful in his avowal, when
one considers that he might say, " I shall win
quite as much by the blows our antagonist gives
him, blows from which he saves me — I thank 465
the antagonist equally ! " Moreover, you may
enlarge on the loss of the edge of party-animosity
with age and experience . . .
45 1 spend. A, spent. 452 give. A, gave.
465 iloivs. A, and. 466-467 may enlarge. A, must enlarge.
Digitized by VjOOQIC
286 a ^td'ft tCageDl? [Act n.
Chiap. And naturally time must wear oiFsuch
asperities: the bitterest adversaries get to discover 470
certain points of similarity between each other,
common sympathies — do they not ?
Ogni. Ay, had the young David but sat first
to dine on his cheeses with the Philistine, he
had soon discovered an abundance of such com- 475
mon sympathies. He of Gath, it is recorded,
was born of a father and mother, had brothers
and sisters like another man, — they, no more
than the sons of Jesse, were used to eat each
other. But, for the sake of one broad antipathy 480
that had existed from the beginning, David slung
the stone, cut off the giant's head, made a spoil
of it, and after ate his cheeses alone, with the
better appetite, for all I can learn. My friend,
as you, with a quickened eye-sight, go on dis-4g5
covering much good on the worse side, remem-
ber that the same process should proportionably
magnify and demonstrate to you the much more
good on the better side ! And when I profess
no sympathy for the Goliaths of our time, and 490
you object that a large nature should sympathize
with every form of intelligence, and see the good
in it, however limited — I answer, "So I do;
but preserve the proportions of my sympathy,
however finelier or widelier I may extend its 495
473 tat. A, sate.
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sciNs I.] <i 9souVg tD^raseOi; 287
action/' I desire to be able, with a quickened
eye-sight, to descry beauty in corruption where
others see foulness only ; but I hope I shall also
continue to see a redoubled beauty in the higher
forms of matter, where already everybody sees 500
no foulness at all. I must retain, too, my old
power of selection, and choice of appropriation,
to apply to such new gifts ; else they only daz-
zle instead of enlightening me. God has his
archangels and consorts with them : though he 505
made too, and intimately sees what is good in,
the worm. Observe, I speak only as you pro-
fess to think and, so, ought to speak : I do jus-
tice to your own principles, that is all.
Chiap. But you very well know that the two 510
parties do, on occasion, assume each other's char-
acteristics. What more disgusting, for instance,
than to see how promptly the newly emancipated
slave will adopt, in his own favour, the very mea-
sures of precaution, which pressed soreliest on 515
himself as institutions of the tyranny he has just
escaped from ? Do the classes, hitherto without
opinion, get leave to express it ? there follows a
confederacy immediately, from which — exercise
your individual right and dissent, and woe be to 520
you!
499-500 higher form* of matter. A, higher fbrmt.
518 there follows. A, there if.
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288 <i f^wi'g tD^setn; [act u.
Ogni, And a journey over the sea to you !
That is the generous way. Cry — " Emancipated
slaves, the first excess, and off I go ! " The
first time a poor devil, who has been bastina-525
doed steadily his whole life long, finds himself
let alone and able to legislate, so, begins pet-
tishly, while he rubs his soles, "Woe be to
whoever brings anything in the shape of a stick
this way ! " — you, rather than give up the very 530
innocent pleasure of carrying one to switch
flies with, — you go away, to everybody's sor-
row. Yet you were quite reconciled to stay-
ing at home while the governors used to pass,
every now and then, some such edict as "Let 53s
no man indulge in owning a stick which is
not thick enough to chastise our slaves, if need
require ! '* Well, there are preordained hier-
archies among us, and a profane vulgar sub-
jected to a different law altogether j yet I am 540
rather sorry you should see it so clearly : for, do
you know what is to — all but save you at the
Day of Judgment, all you men of genius ? It is
this : that, while you generally began by pulling
down God, and went on to the end of your life, 545
in one effort at setting up your own genius in
his place, — still, the last, bitterest concession
wrung with the utmost unwillingness from the
523 Cry. A, Say.
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sciN> I] Si $teitl'0 tD^srhv 289
experience of the very loftiest of you, was in-
variably — would one think it? — that the rest 550
of mankind, down to the lowest of the mass,
$tood not, nor ever could stand, just on a level
and equality with yourselves. That will be a
point in the favour of all such, I hope and be-
lieve. 555
Chiap. Why-, men of genius are usually
charged, I think, with doing just the reverse ;
and at once acknowledging the natural inequal-
ity of mankind, by themselves participating in
the universal craving after, and deference to, the 560
civil distinctions which represent it. You won-
der they pay such undue respect to titles and
badges of superior rank.
Ogni. Not I (always on your own ground
and showing, be it noted !) Who doubts that, 565
with a weapon to brandish, a man is the more
formidable ? Titles and badges are exercised as
such a weapon, to which you and I look up
wistfully. We could pin lions with it moreover,
while in its present owner's hands it hardly prods 570
rats. Nay, better than a mere weapon of easy
mastery and obvious use, it is a mysterious di-
vining rod that may serve us in undreamed-of
ways. Beauty, strength, intellect — men often
have none of these, and yet conceive pretty ac-575
552 stood. A, was. stand. A, be. 573 us. A, you.
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290 jat I^Ottl'0 tD^SeOC [Act II.
curately what kind of advantages they would
bestow on the possessor. We know at least
what it is we make up our mind to forego, and
so can apply the fittest substitute in our power.
Wanting beauty, we cultivate good humour $580
missing wit, we get riches : but the mystic un-
imaginable operation of that gold collar and
string of Latin names which suddenly turned
poor stupid little peevish Cecco of our town
into natural lord of the best of us — a Duke, 585
he is now — there indeed is a virtue to be
reverenced !
Chiap. Ay, by the vulgar: not by Messere
Stiatta the poet, who pays more assiduous court
to him than anybody. 590
Ogni. What else should Stiatta pay court to ?
He has talent, not honour and riches : men natu-
rally covet what they have not.
Chiap. No, or Cecco would covet talent,
which he has not, whereas he covets more 595
riches, of which he has plenty, already.
O^. Because a purse added to a purse makes
the holder twice as rich : but just such another
talent as Stiatta's, added to what he now pos-
sesses, what would that profit him ? Give the 600
talent a purse indeed, to do something with!
577-585 We , , . of us. A hat you for v>e and us^ your for
our throughout.
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sciNii.] SifiwV«1Em%t»z 291
But lo, how we keep the good people waiting !
J only desired to do justice to the noble senti-
ments which animate you and which you are
too modest to duly enforce. Come, to our main 605
business : shall we ascend the steps ? I am go-
ing to propose you for Provost to the people ;
they know your antecedents, and will accept
you with a joyful unanimity : whereon I con-
firm their choice. Rouse up ! Are you nerving6io
yourself to an effort ? Beware the disaster of
Mes^ere Stiatta we were talking of ! who, de-
termining to keep an equal mind and constant
face on whatever might be the fortune of his
last new poem with our townsmen, heard too 61 5
plainly '' hiss, hiss, hiss," increase every mo-
ment. Till at last the man fell senseless : not
perceiving that the portentous sounds had all
the while been issuing from between his own
nobly clenched teeth, and nostrils narrowed by 610
resolve.
Ctiap. Do you begin to throw off the mask i
— to jest with me, having got me effectually
into your trap ?
Ogni. Where is the trap, my friend? You 6*5
hear what I engage to do, for my part : you, for
yours, have only to fulfil your promise made just
now within doors, of professing unlimited obedi-
610 jireyou. A, You are. 615 poem» A, tragedy.
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192 jBI 9Mtll'« tlTRIS^ [Act H.
ence to Rome's authority in my person. And I
shall authorize no more than the simple re-estab- 630
lishment of the Provostship and the conferment
of its privileges upon yourself: the only novel
stipulation being a birth of the peculiar circum-
stances of the time.
Chiap. And that stipulation ? 635
Ogni. Just the obvious one — that in the event
of the discovery of the actual assailant of the late
Provost • . .
Chiap. Ha!
OgnL Why, he shall suiier the proper penalty, 640
of course ; what did you expect ?
Chiap. Who heard of this ?
Ogni. Rather, who needed to hear of this ?
Chiap. Can it be, the popular rumour never
reached you . * • 645
Ogni. Many more such rumour^ reach me,
friend, than I choose to receive \ those which
wait longest have best chance. Has the present
one sufficiently waited? Now is its time for
entry with effect. See the good people crowding 650
about yonder palace-steps — which we may not
have to ascend, after all. My good friends ! (nay,
two or three of you will answer every purpose)
— who was it fell upon and proved nearly the
death of your late Provost? His successor de-655
636 Jutt, Ay Oh. 650 crrwSng, A, crowded.
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sciNii] Si9MA^«t&miS^ 293
sires to hear, that his day of inauguration may
be graced by the act of prompt bare justice we
all anticipate. Who dealt the blow that night,
does anybody know ?
Luit. (coming forward). I ! 660
Jll. Luitolfo!
Luit. I avow the deed, justify and approve it,
and stand forth now, to relieve my friend of an
unearned responsibility. Having taken thought,
J am grown stronger: I shall shrink from no- 665
thing that awaits me. Nay, Chiappino — we
are friends still : I dare say there is some proof
of your superior nature in this starting aside,
strange as it seemed at first. So, they tell me,
my horse is of the right stock, because a shadow 670
in the path frightens him into a frenzy, makes
him dash my brains out. I understand only the
dull mule's way of standing stockishly, plodding
soberly, suffering on occasion a blow or two with
due patience. 675
Eula. I was determined to justify my choice,
Chiappino, — to let Luitolfo's nature vindicate
itself. Henceforth we are undivided, whatever
be our fortune.
Ogni. Now, in these last ten minutes of 680
silence, what have I been doing, deem you?
Putting the finishing stroke to a homily of mine,
669 iumed. A, seemt.
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294 JK $boal'0 tE^mi^ [act n.
I have long taken thought to perfect, on the
text, ^^Let whoso thinketh he standeth, take
heed lest he fall." To your house, Luitolfo ! 685
Still silent, my patriotic friend ? Well, that is
a good sign however. And you will go aside for
a time ? That is better stilL I understand : it
would be easy for you to die of remorse here on
the spot and shock us all, but you mean to live 690
and grow worthy of coming back to us one day.
There, I will tell every body ; and you only do
right to believe you must get better as you get
older. All men do so : they are worst in child-
hood, improve in manhood, and get ready in old 695
age for another world. Youth, with its beauty
and grace, would seem bestowed on us for some
such reason as to make us partly endurable till
we have time for really becoming so of ourselves,
without their aid; when they leave us. The 700
sweetest child we all smile on for his pleasant
want of the whole world to break up, or suck
in his mouth, seeing no other good in it —
would be rudely handled by that world's inhabit-
ants, if he retained those angelic infantine desires 705
when he had grown six feet high, black and
bearded. But, little by little, he sees fit to forego
690 you mean to live. A, you wiHl live.
693 you muit get better. A, you will get better.
697 would seem. A, would really seem.
704 would be, Xy he would be.
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sciNi I] Si $bottl'0 tS^rasein? 295
claim after claim on the world, puts up with a
less and less share of its good as his proper
portion ; and when the octogenarian asks barely 710
a sup of gruel and a fire of dry sticks, and thanks
you as for his full allowance and right in the
common good of life, — hoping nobody may
murder him, — he who began by asking and
expecting the whole of us to bow down in wor-715
ship to him, — why, I say he is advanced, far
onward, very far, nearly out of sight like our
friend Chiappino yonder. And now — (ay,
good-bye to you ! He turns round the north-
west gate: going to Lugo again? Good-bye !) 720
— and now give thanks to God, the keys of the
Provost's palace to me, and yourselves to profit-
able meditation at home ! I have known Four"
and-twenty leaders of revolts.
711 tiattks. A, will thank.
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^otesi to a ^ftrnV^ CtaseD^
For tie meaning of dt^le worJs tee tie Gloiuay,
No. Tin of Bells and Pomegranates, published in April, 1 846,
contained Luria and A SouPs Tragedy, The number bore the
dedication, afterward made the dedication of the former plaj alone :
" I dedicate these last attempts for the present at dramatic poetry
to a great dramatic poet ; * Wishing what I write may be read l^
his light * ; — if a phrase originally addressed, by not the least worthy
of his contemporaries, to Shakespeare, may be applied here, 1^
one whose sole privilege u in a grateful admiration, to Walter
Savage Landor. Mch. 29, 1846.**
The phrase ** last attempts for the present at dramatic poetry **
is of interest both as rehted to what had gone before and to the
hot that afterward Browning did not again, except with In a Balcony ^
attempt the strictly dramatic form. The dramas which had pre-
ceded these two << last attempts ** show deliberate and painstaking
effort to achieve stage-effectiveness. In Luria, however, one feels
that the poet hardly expects that the play will be acted ; and in
A SouPs Tragedy all thought of stage presentation seems to have
been frankly abandoned. Yet A SouPs Tragedy was performed
under the auspices of the London Stage Society on March 13 and
14, 1904. A couple of extracts will be sufficient to show the tone
of the critics in regard to its effect.
<< Whatever claims to psychology Browning's A SouPs Tragedy
may possess, its lack of brightness and lucidity disqualifies it for
stage exposition. Not the slightest illumination is cast upon it by
the species of interpretation that is afforded. . . . There is, how-
ever, satisfaction of a sort in ascertaining how incapaUe of stage
treatment are some, at least, of Browning's psychological abstrac-
tions.** — Tie Atienaum,
« Its poetry and its philosophy do not * carry across the foot-
I.* It is not a drama of action or of the emotions, it is a study
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ipotM 297
m sonb and tfaerdbre a itiidj for tlie firetide, iiot for the garish
g^are of the fbodights. The TadUating Chiappmo does not fascinate
OS m the theatre as he does hi the book, and Ogniben*s cynicism
when spoken becomes wearisome. * * — The Academy and Literature.
No. vm of Belh and Pomegranates contained opposite the first
page of A SouPs Tragedy the following note : —
<< Here ends mj first series of < Bells and Pomegranate^ * : and I
take the opportunity of explaining in reply to inquiries, that* I only
meant by that tide to indicate an endeavour towslrds something like
an akerhation, or mixture, of music with discoursing, sound with
sense, poetry with thought ; which kx»ks too ambitious, thus ex-
pressed, so the symbol was pref e rred . It is littleto the purpose, that
such is actually one of the most famfliar of the many Rabli^cal
- (and Patristic) acceptations of the phrase ; because I confess that, let-
ting authority akme, I supposed the bare irords, m such juxtaposition,
would sufficiently convey the desired meadng. * Fakh and good
works * u another fimcy, for instance, and perhaps no easier to arrive
at : yet Giotto placed a pomegranate fruk in the hand of Dante,
and Rafaelle crowned his Theology (in the Camera ddla S^natnra)
with blossoms of the same ; as if the Bellari and Vasari would be sure
to come after, and explam that k was merely * simMo delle huone
npere — // qual Pomo granato fu peri utato neile vesti del Pentefiet
apfressogli Ehrei.* * R. B."
252, 91. All your successes are an outn^ to.
The line is a key-note to the character of Chiappino. His inordi-
nate vani^ and self-love rage against any success that b not his own.
254> i33-i34> My eye . • • bear. The gross egotism of
Chiappino is so offensive that one wonden how Eulalia and Lui-
tolfo have been able to have or to preserve any feelbg for him other
than pity for one so morbidly souKsick.
258, S3&. Your Lnitolfo. Having thrown aside hk mask,
Chiappino indulges his spleen by sneeringly refisrring to LuhoHb as
**your.**
262, 303. I Ve just killed him. This k one of the com-
parativdy few speeches is the play which have genuine dramatic
eDNscdveiMss.
*■ **A s^mM •/ t—d wrh$ — which F»mtgrmn»f was thenftn used iu
the rekes •ftbe MIgh Print munmg the Bekrews.**
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298 i^ote0
264, 331. trip-hook, thumbscrews and the gadge.
Inttruments of torture which might be used in the punishment of
one who had murdered the PrdTect Tfip-hook and g^dg^e
are apparently terms invented by Browning. They are at least not
to be found in the dictionaries.
264, 341. Venice, and all 'S safe. Venice was an inde-
pendent republic, and there the fugitive would be safe from punuit.
265, 351. Is traced in that. The paper, mendoned
1. 338, which he gives her.
266, 374-375- If they • • • speak there ! It is sub-
tilely characteristic that at this supreme moment Chiappino, the
man of words, should flatter his vanity mth the thought that he
might make a most effective harangue before his executioa in the
msuket-place.
269, 43. Bratns the Elder. Lucius Junius Brutus rooted
the people and expelled the Tarquins from Rome ; but — in con-
trast to Chiappmo — he did not make himself ruler.
270, 52. dico TObis. I tell you.
271-275, 97-105. comes on muleback . . . arm in
arm. W. L. Courtney, commenting upon Browning's tempta-
tion to speak in his own person under the guise of one of his char-
acters, cites this passage, and remarks t —
** Let us take another instance, how a bystander — one of the
populace, be it remembered — is able to describe Ogniben*s demeanor
and language ... * Roll under his tongue this sweeter morsel
still I * Fancy a bystander, one of the populace, caUmg such talk as
thu < chatting * ! ** — Stuilies New and Old,
All this talk of the bystanders, while it explains clearly the situa-
tion, is impossible from the point of view of dramatic propriety. It
is an excellent illustration of Browning's habit of neglecting acci-
dental details so long as the essential thought or emotion is deariy
brought out.
27 z, 100. Curfremueregentes. Why do the people rage?
Ps. u.
276, 218. urg^ent danger. Luitdfo understands the mes-
sage as meanmg bodily danger, whereas Eulalia had meant moral
peril.
279, 307. So . • • perform. Eulalia In this act b made a
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p>u«
299
mere puppet for working out the idea of the poet. Were the u
real as in the first act, it niight be possible to have doubts in regard
to the motives which lead her to play double with Chiappino while
keeping Luitolfo informed of the course of events and ultimately
sencting for him. Her declaration, 11. 674-77, of her reason does not
have a ring entirely convincing. Taken as a simple algebraic quan-
tity used m solving the equation, the bringing out of Chiappino*s
genuine self, — she serves her use well.
282, 371. western lands. America, m the sixteenth
century newly discovered.
285, 444. advocators of chang^e. The meaning of the
word in the fifteenth century was mtercessor, patron. Dr. Rolfis
■otes that the obvious meaning here is Browning's innovation.
286, 474. dine . . . Philistine. David's father, Jesse, sent
him vnxh ten cheeses to the captain of the thousand in which
were his oldest three brothers. He fi>und the Philistine of Gath,
Goliath, challenging the Israelites. Ultimately he was allowed to
fight the ^ant, whom he slew, i Samuel zvii, 12-54.
288, 539. profane vulgar. The expression is that of Hor-
ace, Ode iii.
294, 684-685. ** Let • • . fall." I Corinthians x, 12.
295, 717-718. nearly out of sight like our friend
Chiappino. ' ' The vital importance of critical moments is Brown-
ing's nvorite theme. The character must be prepared by long,
patient training for the < stress and strain * of an unforeseen and half
recognized occanon. The power to judge of the real ethical value
of any given act is strengthened if not positively created by years of
careful study of the relations of conduct and of people. This ob-
servation must be unselfish as well as keen. No better example can
be found of all these general considerations than the character of
Chiappmo. ... He is equal to one lofty choice. He takes upon
himwlf the act of Luitolfo when he supposes to do so is to meet
death in one of its most hideous forms. He bears the test of tor-
turing adversity. But at the next step he falters. The importance
of truth — where an instant before a lie had been the truest hero-
ism — he does not see. . . . Chiappino slinks out of right, the
victim of his own treachery, and we realize that for him there is no
hope.** — Professor Rolfe and Miss Mersey.
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Th$ place of publicatioH is London unleu otkirwist hdicMttd,
I. TEXTS.
This list is made mitJk refertnct not to Bromwh^t work in gem"
eralf but simply to those plays included in this volume. It is not
exhaustive, hit includes the authoriued editions and the best
reprints,
1843. BiLU AND PoMIGlANATBt. | No. V. | A BlOT IN TRX
*ScvTCMBON. I A Tragedy, | in Three Acts. | By Robert Brown-
ing, I Author of Paraceliut.** | Edward Moxon, Dover Street, |
Mdcccxliii.
1844. BbLU and PoMXGKANATlt. | N? VI. CoLOMBK*8
BiiTHDAY. I A Play, | In Five Acts. | By Robert Browning, |
Author of << Paracelsus.** | [Between parallel lines follows the
quotation firom Hanmer given on p. 82.] IxMidon : | Edward
Moxon, Dover St. | Mdcccxliv.
1846, BiLU AND PoMSGRANATis. | No. VIIJ. and last. I
LuiiA I and I A Sovl*s Tragxdy. | By Robert Browning, |
Author of ** raracelsus.** I London : | Edward Moxon, Dover
St. I Mdcccxlvi.
Z049. PoBMs BY RoBSBT BiowNiNG. 1 vols. Chapman ic
Hall CoLOMBB*s BiiTMOAY, vol. I. $ A Blot in tum *ScirrciiBOM
and A Sovl*s Tragbdy, vol. II.
Z855. Mbn and Wombn. 2 vols. Chapman Sc HalL In
a Balcony, vol. II.
Z863. Thb PoxncAL Worn or Robbkt Biowning. 3 vols.
Chapman & Hall. Third edition. All the dramas are in the
second volume : Tragbdibs and Othbk Plays, i 865 reprinted.
Fourth edition.
z868. Thb Pobtical Worn or Robbbt Biowning, M. A.^
6 vols. Smith, Elder 8c Co. A Blot in thb *Scutcmbon and
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iPlbUognqpIn! 301
C0L0MBB*8 BllTHDAY, YOl. IV. $ A SoUL*t TkAGBDT, VOl. V. ;
In a Ba¥.cony, vol. VI.
Z872. PoBTicAL Works. 4 vols. B. Tauchnitz, Leipzig.
A SouL*8 Tragbdy, vol. I. ; In A Balcony, vol II. ; A Blot
IN THB *ScvTCHxoN, vol. III. CoLOMBx*8 BiiTHOAY 18 not In-
cluded.
Z878. Tmi PoencAL Woun or Robbit Browning. 6 vols.
Smith, Elder & Co. A Blot in thb *Scutchbon and Colombb*8
Birthday, toI. IV. ; A Sovl^s Tragbdy, voL V. ; In a Bal-
cony, vol. VI.
Z 888-1894. Thb Pobtical Works or Robbrt Browning.
17 vols. Smith, Elder & Co. A Soul*s Tragbdy, vol. III. ;
A Blot in thb *Scutchbon and Colombb*8 Birthday, voL IV. ;
In a Balcony, vol. VII. This edition, which began to appear in
the year of Browning's death, had been revised by the poet : it is,
therefore, regarded as the definitive edition.
Most of these English editions have been republished in America^
The most satisfactory American editions are : —
1887. PosTic AND Dramatic Works. 6 vols. Riverside
edition. Houghton, Mifflin & Co., Boston.
1887. A Blot in thb *Scutchbon and othbr Dramas. By
Robert Browning. Edited, with notes, by William J. Rolfe,
Litt, D., and Helobe E. Hersey. Harper & Co., N. Y. Re-
printed 1893.
1895. CoMPLBTB PoBTic AND DRAMATIC WoRKS. Cam-
bridge edition. Houghton, Mifflin & Co., Boston.
1896. Pobtical Works. 2 vols. Macmillan Sc Co., N. Y.
All the dramas in vol. I.
1898. CoMPLBTB Pobtical Works. 12 vols. Camberwell
edition. Charlotte Porter and Helen A. Clarke. T. Y. Crow-
ell & Co., N. Y. A Blot in thb *Scutchbon, Colombb*s
Birthday, and A Sovl*s Tragbdy, vol. III. ; In a Balcony,
voL V.
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302 IBIbliosrap]^
II. WORKS. BIOGRAPHICAL AND
CRITICAL.
TAis listf lih tht preceding, is made toith especial reference f
the plays, the essays cited having at least noteworthy pass^es hear^
ing upon one or more of the dramas included in this volume ; hue
most of the ivorks given have also a broader range and deal wth
Browning in the varied phases of his genius,
Z843. Review of perfonnance of A Blot in thb *Scutchbon,
The Examiner (London), Feb. 18, 1843. Quoted in the papers
of the London Brovming Society, Part II.
1848. Review of renval of same play by Phelps, The Ath€'
naum (London), Dec. 2, 1848; The Examiner, Dec. 9.
1840. Brownino*8 Plays and Pokms. James Russell LowelL
North American Review, April, 1848 ; vol. LXVI, pp. 357-400.
Z853. Review of performance of Colombk*8 Birthday, Athe^
naum. Literary Gazette, and Examiner, all on April 30, 1853.
X879. Studiis in Litxkaturs. Edward Dowden, LL. D.
Two Essays : The Transcendental Movement and Literature and
Mr, Tennyson and Mr, Browning, C. K. Paul & Co.
1885. Is Browning Dramatic ? Arthur Symonds. Brown-
. mg Society Papers, Part VII.
1885. A Handbook to tmk Worts op Robert Browning.
Mrs. Sutherland Orr. George Bell & Sons.
x886. An Introduction to tmx Study of Browning. Ar-
thur Symonds. Cassell & Co.
X888. Studies, Nxw and Old. W. L. Courtney. Robert
Browning, Writer of Fl^s, Chapman & Hall.
X889. Thk Tragic Motivi in Browning*s Dramas. Pro-
fessor C. C. Everett. The Andover Review, February.
xSpO. LiFX OF Browning. William Sharp. London, Walter
Scott ; New York, A. Lovell & Co.
Z890. Robert Browning: Personalia. Edmund Gosse.
Houghton, Mifflin & Co., Boston.
X89Z. Life and Letters of Robert Browning. 2 vols.
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UBibUognqiln; 303
Mrs. Sutherland Orr. For Browning*! own account of tlie firtt
production of A Blot in thx 'Scutcmxon, aee pp. 169-176,
1 78-1 80. Smith and Elder.
1891. A OUIOB-BOOK TO THK POBTIC AND DlAMATIC
Works op Robxht Bbowning. George Willis Cooke. Hough-
ton, Mifflm Sc Co., Boston.
x89Z. ViCTOKiAN Pom. Amy Sharp. Browning, Me-
thuen & Co.
1892. Thx Bbowning Cyclop adia. £. Berdoe. Swan,
Sonnoischem & Co. Pp. xiii-xviii contain a list of the pub-
fications of the London Browning Society from its beginning in
1881 to 1893.
1895. CoKKXCTXD Impeissions. George Saintrimry. Brown'
ing, Dodd, Mead & Co., New York.
1895. Thx Gkxatxb Victobian Poxts. Hugh Walker.
Three essayst Brownings 1833-18461 Browning* s Interme£at«
Period^ 18^0-' j86o i Tennyson and Brownings tki Closing Period,
Swan, Sonnenschein 8c Co.
1897. '^"* LXTTXBS OP EUSABXTH BaBBXTT BbOWMING.
% vols. Edited by F. G. Kenyon. For interesting comments on
the first presentation of Colombx*s Bibthdat, see II, 112, 115,
116. MacmiUan & Co., N. Y.
X899. A Phiustink Vixw op a Bbowning Plat. Professor
Lounsbttiy. Tke Atlantic Monthly ^ December.
2899. Thx Lxttxxs op Robxbt Bbowning and Euzabxth
Babbxtt Bbowning. i 845-1 846. % vols. For comment on
A Soul's Tbagxdy, see I, 26, 467, 470, 540 } II, 13, 34,
77, 108. Harper 8c Bros., N. Y.
Z902. Thx Poxtbt op Robxbt Bbowning. Stopfbrd A.
Brooke. New York. T. Y. Crowell & Co.
Z904. Robxbt Bbowning. (The Temple Biographies). Ed-
ward Dowden. Chs. iii and iv. Tke Maker of Plays, J. M.
Dent and Co.
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d^io^^acp
Amelius. An Itafian Neo-
Platonist of the third centuty.
C. B, m, i, 71,
Argenta. About midway be-
tween Femra and Ravenna.
S, r. 1, i, J40.
ave-bell. This was rung half
an hour after tunaet at the
Mgnai for repeating an Ave
Maria, S, T. i, i, %.
bower. In the senae so com-
mon in the old balladi, cham-
ber. B, In S, I, iii, 203.
Brutus. S, T. n, 43. See note,
p. 298, on 269, 43-
capping^. Taking off the cap
in honor of royalty. C B» i, i,
177.
church-flowers. Flowen
plucked to adorn the altar,
and to peiith, as the Duchess
must pttish thrown down from
her estate. C B, u, i, 165.
Cleves. Ancient ci^ital of the
Duchy of Cleves. It b the
scene of the legend of Lohen-
grin and the swan. C. B, i, i,
222.
crysoprase. A kind of chal-
cedony, usually translucent
apple-green in color. C. B.
1^1 i| 157* S^ note, p. 191,
on 152, 157.
diamond scales. Scales to
weigh gems, and of extreme
sensitiveness. B, in 8, i. Si,
187.
emprise. Adventurousnesi.
C. B, in, i, 363.
expressless. Browning's
coinage for *< inexpressible.**
B, in S, I, ill, 116.
eyass. A young hawk. B. in.
S, I, n, 60.
Faenza. A small city, an-
ciently the Faventia of the
Romans, twenty miles south-
west of Ravenna. It had at
the time of this play been an-
nexed to the Papal States and
was governed by Rome through
Ravenna. S. T. i, i, 94.
fig^ht-mark. An awkiimd ex-
pression, apparently the poet*8
0¥m, for a token worn by a
knight in the tourney, usually
his lady*s glove or sleeve or
scarf on his helm. B, in S.
I, iii, 217.
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€)lo00airs
305
gadge. S, T. 1, i, 33a. See
note, p. 298, on 264, 332.
gauntlet-gatherer. One
who takes* up the gauntlet
thrown down in challenge and
hence a champion. S, T. i, i,
72.
gules. In henldxy, the color
red. B, in S. m, 2, 150.
Juliers. A fortified town of
Rhenish Prussia, about a score
of miles northeast of Aix-la-
Chapelle. C. B. i, i, 17.
losels. Worthless fellows. B, in
S. u, i, 303.
Lugo. A town ten miles from
Faenza. S. T, 1, i, 340.
marcasite. Acrystalizedform
of iron pyrites. C. B, i, i»
353.
masque. The company of
players ; hence those whom
Tresham leaves to go on with
the play of life afber he has
dropped out. B. in S. ni| ii,
139.
mercy-stroke. The term
applied to the stroke by which
in punishments like breaking
on the wheel the executioner
ended the torture by a blow
mercifully mortal. B, in &
I, ii, 128.
Nepomucene. The patron
samt of Bohemia. S. 7*. n, i^
61.
poursuivant. A herald or ad-
vance messenger. B, in S.
h h 4.
proper. In the otd Eng^b
sense of comely as used by the
Elizabethan dramatists and
within the last half century —
perhaps still — in New Eng-
land. B. in S, ly iy 59.
Ravestein. A small town
thirty miles west of Cleves in
North Brabant. C. B. i, 1, 14.
San Nicolo. The castle ofy
at Ferrara ? S. T, i, i, 340.
surcoat. A garment worn
over armor. B. in S. m, i,
23. «
thicks. Elizabethan form of
thicket. B, in S, i, ii, 59.
trip-hook. S, T. i, i, 332.
See Notes to S. 7., p. 29a.
wimple. A sort of hood cov.
ering the head and the neck
to the chin. B in S, m, i, 24.
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